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Winner of the Nobel Prize for literature and acknowledged as one of the greatest writers of our time, Samuel Beckett has had a profound impact upon the literary landscape of the twentieth century. In this one-volume collection of his fiction, drama, poetry, and critical writings, we get an unsurpassed look at his work. Included, among others, are: - The complete plays Waiting for Godot, Krapp’s Last Tape, Cascando, Eh Joe, Not I, and That Time - Selections from his novels Murphy, Watt, Mercier and Camier, Molloy, and The Unnamable - The shorter works “Dante and the Lobster,” “The Expelled,” Imagination Dead Imagine, and Lessness - A selection of Beckett’s poetry and critical writings With an indispensable introduction by editor and Beckett intimate Richard Seaver, and featuring a useful select bibliography, I Can’t Go On, I’ll Go On is indeed an invaluable introduction to a writer who has changed the face of modern literature.
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.
The Nobel Prize winning author Samuel Beckett is a literary treasure, and this work represents the only comprehensive reference to the concepts, characters, and biographical details mentioned by, or related to, Beckett. Painstakingly and lovingly compiled by acclaimed Beckett scholars C.J. Ackerley and S.E. Gontarski, it is alphabetical, cross-referenced, and laid out in a very user-friendly format. The Grove Companion to Samuel Beckett provides an organized trove of information for students and scholars alike, and is a must for any serious reader of Beckett. As most Beckettians know, “reading [him] for the first time is an experience like no other in modern literature.” (Paul Auster)
Murphy, Samuel Beckett’s first published novel, is set in London and Dublin, during the first decades of the Irish Republic. The title character loves Celia in a “striking case of love requited” but must first establish himself in London before his intended bride will make the journey from Ireland to join him. Beckett comically describes the various schemes that Murphy employs to stretch his meager resources and the pastimes that he uses to fill the hours of his days. Eventually Murphy lands a job as a nurse at Magdalen Mental Mercyseat hospital, where he is drawn into the mad world of the patients which ends in a fateful game of chess. While grounded in the comedy and absurdity of much of daily life, Beckett’s work is also an early exploration of themes that recur throughout his entire body of work including sanity and insanity and the very meaning of life.
A powerful, genre-defying meditation, with Beckett at its origin, that touches on mysteries as varied as literary celebrity, baseball, and why we feel the need to be cruel to one another Following the schema of Samuel Beckett's unpublished "Long Observation of the Ray," of which only six manuscript pages exist, poet and critic Michael Coffey interleaves multiple narratives according to an arithmetic sequence laid out by Beckett in his notes. This rhythm of themes and genres--involving personal memoir, literary criticism, Beckett studies, contemporary political reportage and accounts of state-sponsored torture in appropriated texts, plus an Arabian Tale and even a baseballplay-by-play--produce a work at once sculptural, theatrical, mathematical and above all lyrical, a new form of narrative answering to a freshened rule set. In executing Beckett's most radical undertaking--one scholar referred to "Long Observation of the Ray" as a "monument to extinction"--Coffey gives readers access to an open field in which ruminations on writing mix with an engagement with Beckett scholarship as well as the unsettling chaos in today's world. Although Beckett, like any writer, had his share of abandoned works, he was in the habit of "unabandoning" on occasion. Coffey's effort here salvages a Beckett project from a half-century ago and brings it to the surface, with the contemporary markings of its hauling.
ncreasingly Samuel Beckett's writing is seen as the culmination of the great literature of the twentieth century - succeeding the work of Proust, Joyce and Kafka. Beckett is a writer whose relevance to his time and use of poetic imagery can be compared to Shakespeare's in the late Renaissance. John Calder has examined the work of Beckett principally for what it has to say about our time in terms of philosophy, theology and ethics, and he points to aspects of his subject's thinking that others have ignored or preferred not to see. Samuel Beckett's acute mind pulled apart with courage and much humour the basic assumptions and beliefs by which most people live. His satire can be biting and his wit devastating. He found no escape from human tragedy in the comforts we build to shield ourselves from reality - even in art, which for most intellectuals has replaced religion. However, he did develop a moral message - one which is in direct contradiction to the values of ambition, success, acquisition and security which is normally held up for admiration, and he looks at the greed, God-worship, and cruelty to others which we increasingly take for granted, in a way that is both unconventional and revolutionary.If this study shocks many readers it is because the honesty, the integrity and the depth of Beckett's thinking - expressed through his novels, plays and poetry, but also through his other writings and correspondence - is itself shocking, to conventional thinking. Yet what he has to say is also comforting. He offers a different ethic and prescription for living - a message based on stoic courage, compassion and an ability to understand and forgive.
'Malone', writes Malone, 'is what I am called now.' On his deathbed, and wiling away the time with stories, the octogenarian Malone's account of his condition is intermittent and contradictory, shifting with the vagaries of the passing days: without mellowness, without elegiacs; wittier, jauntier, and capable of wilder rages than Molloy. The sound I liked best had nothing noble about it. It was the barking of the dogs, at night, in the clusters of hovels up in the hills, where the stone-cutters lived, like generations of stone-cutters before them. it came down to me where I lay, in the house in the plain, wild and soft, at the limit of earshot, soon weary. The dogs of the valley replied with their gross bay all fangs and jaws and foam...
Samuel Beckett was one of the truly seminal and influential writers of the 20th century. The Nobel Prize for Literature awarded to him in 1969 symbolized his acceptance by the international community. He is undoubtedly a 'difficult' writer, and one of the virtues of Enoch Brater's concise literary biography is to give the general reader easier access to Beckett's work, particularly his later and more elliptical theatre and prose pieces. Professor Brater follows Beckett's career from the early days in Ireland, to the efflorexcence in France just after the Second World War, and beyond that to the unfolding of his success in the rest of the world following the universal appeal of his cryptic, moving play Waiting for Godot. In his analysis of the way Beckett approaches his work, Brater emphasises the Irish rhythms in his writing, and examines, at all stages, the intriguing relationships between his fiction and his compositions for theatre, film and television. Supported by a large selection of photographs, personal and public, this is a brilliant and informed study of Beckett's life and works.