Molloy is Samuel Beckett's best-known novel, and his first published work to be written in French, ushering in a period of concentrated creativity in the late 1940s which included the companion novels Malone Dies and The Unnamable . The narrative of Molloy, old and ill, remembering and forgetting, scarcely human, begets a parallel tale of the spinsterish Moran, a private detective sent in search of him, whose own deterioration during the quest joins in with the catalogue of Molloy's woes. Molloy brings a world into existence with finicking certainties, at the tip of whoever is holding the pencil, and trades larger uncertainties with the reader. Then I went back into the house and wrote, It is midnight. The rain is beating on the windows. It was not midnight. It was not raining. Edited by Shane Weller
'Nothing happens, nobody comes, nobody goes, it's awful.' This line was adopted by Jean Anouilh, to characterize the first production of "Waiting For Godot" at the Theatre de Babylone, in 1953. Anybody acquinted with Beckett's masterly black comedy would not question the recognition of this twentieth-century literature classic.
Gathers all of Beckett's texts for theatre, from 1955 to 1984. This book includes both the major dramatic works and the short and more compressed texts for the stage, as well for radio.
Well, thought Belacqua, it's a quick death, God help us all. It is not. 'Dante and the Lobster' is the first of the linked short stories in Samuel Beckett's first book, More Pricks Than Kicks . Published in 1934, its style was recognisably indebted to that of his mentor, James Joyce, and crammed with linguistic texture and allusion that Beckett later shed. The book baffled many critics and sold so few copies that several batches were pulped. Decades later, this story was hailed as the Nobel Prize-winner's earliest important work.
'Pattern is as crucial to Beckett's eye as to his ear', writes Gontarski, 'and that patterning dominates his theatrical notes: motion is repeated to echo other motion, posture to echo other posture, gestures to echo other gestures, sounds to echo other sounds. The principle of analogy is fundamental.' Samuel Beckett directed two separate productions of Endgame , once with the Schiller Theater Company in Berlin in 1967, and again with the San Quentin Drama Workshop in 1980. For both productions he prepared detailed notes that are reproduced here in facsimile for the first time. Beckett's revisions for both his productions maintain a consistency - with minor variations to allow for strengths or weaknesses of particular actors - that make a 'corrected' (Beckett's word) text not only possible but desirable, a reflection of the substantial amount of thinking and theatrical testing the work has undergone since its publication. No previous edition - English, French or German - includes the complete production-generated changes. This text was approved by Samuel Beckett.