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A Reader's Guide to Samuel Beckett
Book by Hugh Kenner; Farrar, Straus and Giroux, 1973 * 1. Waiting for Godot : [ * see below ]
[ In 1935 he worked on his novel Murphy. In May of that year Beckett wrote to MacGreevy that he had been reading about film and wished to go to Moscow to study with Eisenstein; in the Summer of 1936 he wrote to Sergei Eisenstein and Vsevolod Pudovkin, offering to become their apprentices. Nothing came of this. ]
biblio
[questia.com]
A Reader's Guide to Samuel Beckett
Book by Hugh Kenner; Farrar, Straus and Giroux, 1973 * 1. Waiting for Godot : [ questia ]
The Critical Response to Samuel Beckett by Cathleen Culotta Andonian; Greenwood Press, 1998
Beckett's Dying Words: The Clarendon Lectures, 1990 by Christopher Ricks; Oxford University Press, 1995
* Samuel Beckett's Waiting for Godot by Harold Bloom; Chelsea House, 1987 - Modern Critical Interpretations - Waiting for Godot - Contents - Editor's Note - Introduction - Bailing out the Silence - The Search for the Self - Waiting - Waiting for Godot - The Waiting Since - The Language of Myth - Beckett and the Problem of Modern Culture - Beckett's Modernity and Medieval Affinities - Chronology
Waiting for Godot in Sarajevo: Theological Reflections on Nihilism, Tragedy, and Apocalypse Westview Press, 1998
The Death of God and the Meaning of Life by Julian Young; Routledge, 2003
Beckett at 80/Beckett in Context by Enoch Brater; Oxford University Press, 1986
Samuel Beckett by John Pilling; Routledge & Kegan Paul, 1976
Samuel Beckett and the End of Modernity by Richard Begam; Stanford University Press, 1996
All That Fall by Samuel Beckett; Grove Press, 1957
Happy Days: A Play in Two Acts by Samuel Beckett; Grove Press, 1961 ** [ 2007 dramlit ]
Frescoes of the Skull: The Later Prose and Drama of Samuel Beckett by James Knowlson, John Pilling; John Calder, 1979
The Long Sonata of the Dead: A Study of Samuel Beckett by Michael Robinson; Grove Press, 1969
Samuel Beckett: The Language of Self by Frederick J. Hoffman; Southern Illinois University Press, 1962
Samuel Beckett, a Critical Study by Hugh Kenner; Grove Press, 1961
Early Beckett: Art and Allusion in More Pricks Than Kicks and Murphy by Anthony Farrow; Whitston Publishing Company, 1991
Re--Joyce'n Beckett by Phyllis Carey, Ed Jewinski; Fordham University Press, 1992
Images of Beckett by John Haynes, James Knowlson; Cambridge University Press, 2003
Proust, Beckett and Narration by James H. Reid; Cambridge University Press, 2003
Murphy by Samuel Beckett; Grove Press, 1957
Watt by Samuel Beckett; Grove Press, 1959
Malone Dies by Samuel Beckett; Grove Press, 1956
The Drama in the Text: Beckett's Late Fiction by Enoch Brater; Oxford University Press, 1994
Theatre on Trial: Samuel Beckett's Later Drama by Anna Mcmullan; Routledge, 1993
Directing Beckett 0-472-08436-4
Lois Oppenheim
Interviews with and essays by twenty-two prominent directors of Samuel Beckett's work.
Palgrave Advances in Samuel Beckett Studies 1403903530
a web guide to Samuel Beckett from literaryhistory.com
The Cambridge Companion to Beckett List of contributors; Preface; Chronology of Beckett’s life; List of abbreviations; A note on titles; 1. An endgame in aesthetics: Beckett as essayist Rupert Wood; 2. Beckett’s English fiction John Pilling; 3. Three novels and four nouvelles Paul Davies; 4. Waiting for Godot and Endgame: theatre as text Michael Worton; 5. Stages of identity: from Krapp to Play Paul Lawley; 6. Beginning again: the post-narrative art of Texts for Nothing and How It Is H. Porter Abbott; 7. The mediated Quixote: the radio and television plays and film Jonathan Kalb; 8. Dead heads: damnation-narration in the ‘dramaticules’ Keir Elam; 9. Disabled figures: from the Residua to Stirrings Still Andrew Renton; 10. Beckett’s poems and verse translations Roger Little; 11. Beckett as director: the art of mastering failure Anna McMullan; 12. Beckett’s bilingualism Ann Beer; 13. Beckett and the philosophers P. J. Murphy; Further reading; Index.
Godot won't be worth waiting for
Beckett Papers ***
Samuel Beckett's NY Times Obituary December 27, 1989 - Wednesday - Late Edition By Mel Gussow
Samuel Beckett, a towering figure in drama and fiction who altered the course of contemporary theater, died in Paris on Friday at the age of 83. He died of respiratory problems in a Paris hospital, where he had been moved from a nursing home. He was buried yesterday at the Montparnasse cemetery after a private funeral.
Explaining the secrecy surrounding his illness, hospitalization and death, Irene Lindon, representing the author's Paris publisher, Editions de Minuit, said it was ''what he would have wanted.''
Beckett's plays became the cornerstone of 20th-century theater beginning with ''Waiting for Godot,'' which was first produced in 1953. As the play's two tramps wait for a salvation that never comes, they exchange vaudeville routines and metaphysical musings - and comedy rises to tragedy. An Alternative to Naturalism
Before Beckett there was a naturalistic tradition. After him, scores of playwrights were encouraged to experiment with the underlying meaning of their work as well as with an absurdist style. As the Beckett scholar Ruby Cohn wrote: ''After 'Godot,' plots could be minimal; exposition, expendable; characters, contradictory; settings, unlocalized, and dialogue, unpredictable. Blatant farce could jostle tragedy.''
At the same time, his novels, in particular his trilogy, ''Molloy,'' ''Malone Dies'' and ''The Unnamable,'' inspired by James Joyce, move subliminally into the minds of the characters. The novels are among the most experimental and most profound in Western literature.
For his accomplishments in both drama and fiction, the Irish author, who wrote first in English and later in French, received the Nobel Prize in Literature in 1969.
At the root of his art was a philosophy of the deepest yet most courageous pessimism, exploring man's relationship with his God. With Beckett, one searched for hope amid despair and continued living with a kind of stoicism, as illustrated by the final words of his novel, ''The Unnamable'': ''You must go on, I can't go on, I'll go on.'' Or as he wrote in ''Worstward Ho,'' one of his later works of fiction: ''Try again. Fail again. Fail better.''
He wrote six novels, four long plays and dozens of shorter ones, volumes of stories and narrative fragments, some of which were short novels. He wrote poetry and essays on the arts, including an essay about Marcel Proust (one of his particular favorites), radio and television plays, and prose pieces he called residua and disjecta.
Despite his artistic reputation, his ascension was slow and for many years discouraging. He labored in his own darkness and disillusionment, the equivalent of one of the isolated metaphorical worlds inhabited by his characters. When his work began to be published and produced, he was plagued by philistinism, especially with ''Waiting for Godot,'' which puzzled and outraged many theatergoers and critics, some of whom regarded it as a travesty if not a hoax.
In no way could he ever be considered an optimist. In an often repeated story, on a glorious sunny day he walked jauntily through a London park with an old friend and exuded a feeling of joy. The friend said it was the kind of day that made one glad to be alive. Beckett responded, ''I wouldn't go that far.''
In Paris, he met James Joyce and other members of the literary and artistic set. He was not, as is commonly thought, Joyce's secretary, but he became a close friend and aide, reading to him when Joyce's eyes began to fail. Beckett's first published work was an essay on Joyce that appeared in the collection ''Our Exagmination Round His Factification for Incamination of Work in Progress,'' the work in progress being Joyce's ''Finnegans Wake.'' His first poem, ''Whoroscope,'' was printed in 1930.
On his 80th birthday in 1986, Beckett was celebrated in several cities. In Paris there was a citywide festival of plays and symposiums and in New York there was a week of panels and lectures analyzing his art. As usual, he kept his silence, as in the characteristic note he sent to those who approached him about writing his biography. He said that his life was ''devoid of interest.''
His last work to be printed in his lifetime was ''Stirrings Still,'' a short prose piece published in a limited edition on his 83d birthday. In it, a character who resembles the author sits alone in a cell-like room until he sees his double appear - and then disappear. Accompanied by ''time and grief and self so-called,'' he finds himself ''stirring still'' to the end.
...
[ Stoppard, Tom, son of Sam ]
