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At stake in this book is a struggle with language in a time when our old faith in the redeeming of the word-and the word's power to redeem-has almost been destroyed. Drawing on Benjamin's political theology, his interpretation of the German Baroque mourning play, and Adorno's critical aesthetic theory, but also on the thought of poets and many other philosophers, especially Hegel's phenomenology of spirit, Nietzsche's analysis of nihilism, and Derrida's writings on language, Kleinberg-Levin shows how, because of its communicative and revelatory powers, language bears the utopian "promise of happiness," the idea of a secular redemption of humanity, at the very heart of which must be the achievement of universal justice. In an original reading of Beckett's plays, novels and short stories, Kleinberg-Levin shows how, despite inheriting a language damaged, corrupted and commodified, Beckett redeems dead or dying words and wrests from this language new possibilities for the expression of meaning. Without denying Beckett's nihilism, his picture of a radically disenchanted world, Kleinberg-Levin calls attention to moments when his words suddenly ignite and break free of their despair and pain, taking shape in the beauty of an austere yet joyous lyricism, suggesting that, after all, meaning is still possible.
Most people most of the time want to live for ever. But there is another truth; the longing for oblivion. With pain, wit, and humour, the art of Samuel Beckett variously embodies this truth, this ancient enduring belief that it is better to be dead than alive, best of all never to have been born. Beckett is the supreme writer of an age which has created new possiblities and impossibilities even in the matter of death and its definition, an age of transplants and life-support. But howdoes a writer give life to dismay at life itself, to the not-simply-unwelcome encroachments of death? After all, it is for the life, the vitality, of their language that we value writers. As a young man, Beckett himself praised Joyce's words. `They are alive.' Beckett became himself as a writer when he realized in his very words a principle of death. In cliches, which are dead but won't lie down. In a dead language and its memento mori. In words which mean their own opposites, cleaving andcleaving. In the self-stultifying or suicidal turn, dubbed the Irish bull. In what Beckett called a syntax of weakness. This book explores the relation between deep convictions about life or death and the incarnations which these take in the exact turns of a great writer - the realizations of an Irishman who wrote in English and in French, two languages with different apprehensions of life and of death.
A radical re-reading of Samuel Beckett's work as promising happiness and enlightenment. Kleinberg-Levin rejects the traditional interpretation of Beckett's work as nihilistic and negative, proposing a Beckett unlike we've ever encountered before.
Exploring Beckett's relationship with the visual arts and its influence on his creative expression
This work relates the adventures of an unnamed narrator crawling through the mud while dragging a sack of canned food. It is written as a sequence of unpunctuated paragraphs divided into three sections.
This collection gathers together the Nobel Prize-winning writer Samuel Beckett's English poems (including Whoroscope, his first published verse), English translations of poems by Eluard, Rimbaud, Apollinaire, and Chamfort, and poems in French, several of which are presented in translation.
In contrast to the many critics who consider W. B. Yeats a dominant influence on Beckett's drama, this study demonstrates that the two are almost diametrically opposed in their theater and that the real bridge to Beckett's art is to be found in the narrative and pictorial creations of the younger Yeats brother, Jack.
In prose possessed of the radically stripped-down beauty and ferocious wit that characterize his work, this early novel by Nobel Prize winner Samuel Beckett recounts the grotesque and improbable adventures of a fantastically logical Irish servant and his master. Watt is a beautifully executed black comedy that, at its core, is rooted in the powerful and terrifying vision that made Beckett one of the most influential writers of the twentieth century.
Provides valuable insight into one of the most exciting developments in Beckett Studies in recent years.
The word 'decay' is often used by critics in general reference to Beckett's thematic emphasis and philosophical outlook. However, this book explores the idea of decay as the fundamental core of Beckett's work, dominating it thematically, linguistically and artistically. Kathryn White explores Beckett's representation of physical decay, mental and spiritual deterioration and finally the idea that 'decay' is to be found in language itself. This study explores the importance of both theme and form in Beckett's work and considers whether Beckett will, in future generations, be remembered both for his representation of existence and his innovations in language.