By S. E. Gontarski
S. E. Gontarski (ed.)
“On Beckett: Essays and Criticism” is the 1st selection of writings concerning the Nobel Prize–winning writer that covers the full spectrum of his paintings, and in addition gives an extraordinary glimpse of the personal Beckett.
More has been written approximately Samuel Beckett than approximately the other author of this century – numerous books and articles facing him are in print, and the development keeps geometrically. “On Beckett” brings jointly one of the most perceptive writings from the big volume of scrutiny that has been lavished at the guy; as well as generally learn essays there are contributions from extra vague assets, viewpoints now not often obvious. jointly they enable the reader to go into the realm of a author whose paintings has left an effect at the realization of our time probably unequalled by way of that of the other fresh inventive imagination.
The members contain the names of lots of the minds of the 20 th century who've grappled in print with the that means of the Beckett phenomenon. between them are a few of the artists who had an immense function in bringing Beckett’s paintings to the level and who labored side-by-side with Beckett, comparable to Alan Schneider, Roger Blin, Herbert Blau and Jackie MacGowran. additionally incorporated are the various most effective writers of our time, whose come upon with the paintings of Beckett has produced lasting statement, resembling Georges Bataille, Maurice Blanchot and Martin Esslin. one of the famous Beckett students discovered listed below are Ruby Cohn, Walter D. Asmus, and James Knowlson. An interview with Susan Sontag and William S. Burroughs completes the book.
The crucial Beckett: A Preface to the second one version – S. E. Gontarski; A Beckett Chronology; Acknowledgments; Crritics and Crriticism: “Getting Known”– advent through S. E. Gontarski; PRELIMINARIES: Beckett and “Merlin” – Richard W. Seaver; Samuel Beckett and the visible Arts: The Embarrassment of Allegory – Dougald McMillan; whilst is the tip now not the tip? the assumption of Fiction in Beckett – Wolfgang Iser; THE web page: “Murphy” and the makes use of of Repetition – Rubin Rabinovitz; “Watt” – Lawrence E. Harvey; “Mercier and Camier”: Narration, Dante, and the Couple – Eric P. Levy; Molloy’s Silence – Georges Bataille; the place Now? Who Now? – Maurice Blanchot; The Voice and Its phrases: “How It Is”– J. E. Dearlove; The Unnamable’s First Voice? – Chris Ackerley; among Verse and Prose: Beckett and the hot Poetry – Marjorie Perloff; “Worstward Ho” – Dougald McMillan; THE level: MacGowran on Beckett – interview by means of Richard Toscan; Blin on Beckett – interview through Tom Bishop; operating with Beckett – Alan Schneider; Notes from the Underground: “Waiting for Godot” and “Endgame” – Herbert Blau; Beckett Directs “Godot” – Walter D. Asmus; Beckett Directs: “Endgame” and “Krapp’s final Tape” – Ruby Cohn; Literary Allusions in “Happy Days” – S. E. Gontarski; Counterpoint, Absence, and the Medium in Beckett’s “Not I” – Paul Lawley; practice session Notes for the German ultimate of Beckett’s “That Time” and “Footfalls” – Walter D. Asmus; “Footfalls” – James Knowlson; Samuel Beckett and the paintings of Radio – Martin Esslin; gentle, Sound, stream, and motion in Beckett’s “Rockaby” – Enoch Brater; Beckett’s “Ohio Impromptu”: A View from the Isle of Swans – Pierre Astier; “Quad” and “Catastrophe” – S. E. Gontarski; CODA: Burroughs with Beckett in Berlin – edited via Victor Bockris; Notes on individuals
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Extra resources for On Beckett: Essays and Criticism (Revised Edition) (Anthem Studies in Theatre and Performance)
He also visited less well known collections or churches, such as those at Kassel, Chantilly, Hamburg, and Padua. The breadth of his knowledge extends from ancient Chaldean to modern art. His essays and allusions indicate far more than a passing familiarity with schools of art ranging from the Norwich school of English landscape painting to the German postexpressionist movement. His knowledge encompasses a variety of genres ranging from traditional oil painting, sculpture, and engraving to surrealist collage 24 ON BECKETT and modern tapestry design.
A magazine called Points, published sporadically by Sinbad Vail, the son of Peggy Guggenheim, operated out of a topfloor sublet in the same building that housed Les Editions de Minuit. It was for this magazine, for want of a better outlet, that I decided to write the piece. But before I had finished it, a new English-language magazine had sprung up, as literary mushrooms had been doing for decades in the fertile Paris soil: Merlin, run by an impressively serious, craggy-featured young Scotsman, Alexander Trocchi.
21–22. , 18. , 29–31. , 39. , 35. , 38. , 48. , 42. Charles Marowitz, “Paris Log,” Encore (March 1962), 45. The problem of textual deviation has been with Beckett from the first. As early as 9 January 1953, writing to Roger Blin about the incomplete fall of Estragon’s trousers, Beckett noted: “Soyez seulement assez gentil de le rétablir comme c’est indiqué dans le texte…” (Only be kind enough to restore it as the text indicates…). 26 For an overview of the problems of performance changes see James Knowlson, “State of Play: Performance Changes and Beckett Scholarship,” Journal of Beckett Studies (10), 109–20.