_______________ 'A triumph of scholarship and sympathy... one of the great post-war biographies' - Independent 'A landmark in scholarly criticism... Knowlson is the world's largest Beckett scholar. His life is right up there with George Painter's Proust and Richard Ellmann's Joyce in sensitivity and fascination' - Daily Telegraph 'It is hard to imagine a fuller portrait of the man who gave our age some of the myths by which it lives' - Evening Standard _______________ SHORTLISTED FOR THE WHITBREAD PRIZE _______________ Samuel Beckett's long-standing friend, James Knowlson, recreates Beckett's youth in Ireland, his studies at Trinity College, Dublin in the early 1920s and from there to the Continent, where he plunged into the multicultural literary society of late-1920s Paris. The biography throws new light on Beckett's stormy relationship with his mother, the psychotherapy he received after the death of his father and his crucial relationship with James Joyce. There is also material on Beckett's six-month visit to Germany as the Nazi's tightened their grip. The book includes unpublished material on Beckett's personal life after he chose to live in France, including his own account of his work for a Resistance cell during the war, his escape from the Gestapo and his retreat into hiding. Obsessively private, Beckett was wholly committed to the work which eventually brought his public fame, beginning with the controversial success of "Waiting for Godot" in 1953, and culminating in the award of the Nobel Prize for Literature in 1969.
Confinement appears repeatedly in Samuel Beckett's oeuvre – from the asylums central to Murphy and Watt to the images of confinement that shape plays such as Waiting for Godot and Endgame. Drawing on spatial theory and new archival research, Beckett in Confinement explores these recurring concepts of closed space to cast new light on the ethical and political dimensions of Beckett's work. Covering the full range of Beckett's writing career, including two plays he completed for prisoners, Catastrophe and the unpublished 'Mongrel Mime', the book shows how this engagement with the ethics of representing prisons and asylums stands at the heart of Beckett's poetics. "James Little's Beckett in Confinement offers a brilliant analysis of the politics behind Beckett's production of closed space, both as a writer and as a director. It carefully examines the move from writing about closed space to creating an art of confinement. To argue that Beckett's use of confined space is central to the political dynamics of his works, James Little also superbly employs genetic criticism to open up the confined space of the published text and bring highly relevant draft materials back into the critical conversation." Dirk Van Hulle, Professor of Bibliography and Modern Book History, University of Oxford, UK "The many characters Beckett invented share one characteristic: they are all imprisoned or trapped in some way, no matter where they are. Samuel Beckett in Confinement: The Politics of Closed Space draws on untapped riches from Beckett's correspondence and the archives to reconsider the obsession with entrapment, coercion and detention central to Beckett's varied oeuvre. In this exciting and illuminating analysis, James Little offers a fresh and original reading of the work's ethical and political dimensions, and shows us why we need to stop thinking about confinement as a metaphysical metaphor." Emilie Morin, Professor of Modern Literature, University of York, UK "Little breaks new ground in this expansive investigation to explore how confinement is a central component of Beckett's political aesthetics ... The reader is guided by a crisp and easy style of writing as Little demonstrates a command of sources which are broad in scope, but negotiated to form a compelling and impactful study." Journal of Beckett Studies
This a comprehensive comparison of the narrative techniques of two of the twentieth century's most important writers of prose. Using a combination of theoretical analysis and close readings of Proust's A la recherche du temps perdu and Beckett's trilogy of novels, Molloy, Malone Dies, and The Unnamable, James H. Reid compares the two novelists' use of first-person narration in constructing and demystifying fictions of consciousness. Reid focuses on the narrator's search to represent the voice that speaks the novel, a search, he argues, that structures first-person narration in the works of both novelists. He examines in detail the significant impact of Proust's writing on Beckett's own work as well as Beckett's subtle reworkings of Proust's themes and strategies. This study is an important contribution to critical literature, and offers fresh perspectives on the crucial importance of the Recherche and the trilogy in the context of the twentieth-century novel.
At a time when the memoir has never been more popular, Memory and Narrative presents an account of how the weave of life-writing has altered over time to arrive at its present form. James Olney, tells the story of an evolving literary form that originated in the autobiographical writings of St. Augustine, underwent profound and disruptive changes in Jean-Jacques Rousseau's life-writing trilogy, and found its momentary conclusion in the body of Samuel Beckett's work. Among other issues, Olney considers the rejection of the pronoun "I" by many post-Rousseau writers; the uses of narrative in the works of Beckett, Franz Kafka, and the sculptor Alberto Giacometti, and the role of literary memory in light of recent "memory work" from a variety of scientific disciplines. Giambattista Vico, Henry Adams, Gertrude Stein, Richard Wright, and Christa Wolf are some of the many writers examined in this monumental study.
Terrorism and Temporality in the Works of Thomas Pynchon and Don DeLillo starts from a simple premise: that the events of the 11th of September 2001 must have had a major effect on two New York residents, and two of the seminal authors of American letters, Pynchon and DeLillo. By examining implicit and explicit allusion to these events in their work, it becomes apparent that both consider 9/11 a crucial event, and that it has profoundly impacted their work. From this important point, the volume focuses on the major change identifiable in both authors' work; a change in the perception, and conception, of time. This is not, however, a simple change after 2001. It allows, at the same time, a re-examination of both authors work, and the acknowledgment of time as a crucial concept to both authors throughout their careers. Engaging with several theories of time, and their reiteration and examination in both authors' work, this volume contributes both to the understanding of literary time, and to the work of Pynchon and DeLillo.
Like David James' earlier collection of essays, Power Misses: Essays Across (Un)Popular Culture (1996), the present volume, Power Misses II: Cinema, Asian and Modern is concerned with popular cultural activity that propose alternatives and opposition to capitalist media. Now with a wider frame of reference, it moves globally from west to east, beginning with films made during the Korean Democracy Movement, and then turning to socialist realism in China and Taiwan, and to Asian American film and poetry in Los Angeles. Several other avant-garde film movements in L.A. created communities resistant to the culture industries centered there, as did elements in the classic New York avant-garde, here instanced in the work of Ken Jacobs and Andy Warhol. The final chapter concerns little-known films about communal agriculture in the Nottinghamshire village of Laxton, the only one where the medieval open-field system never suffered enclosure. This survival of the commons anticipated resistance to the extreme and catastrophic forms of privatization, monetization, and theft of the public commonweal in the advanced form of capitalism we know as neoliberalism.
Focusing on their conception and use of the notion of the mother, Modernism, Self-Creation, and the Maternal proposes a new interpretation of literature by modernist authors like Rousseau, Baudelaire, Poe, Rimbaud, Rilke, Joyce, and Beckett. Seen through this maternal relation, their writing appears as the product of an "anxiety" rising not from paternal influence, but from the violence done to their mother in their attempts at self-creation through writing. In order to bring to light this modernist violence, this study analyzes these authors in tandem with Derrida’s work on the gender-specific violence of the Western philosophical and literary tradition. The book demonstrates how these writer-sons wrote their works in a constant crisis vis-à-vis the mother’s body as site of both origin and dissolution. It proves how, if modernism was first established as a patrilineal heritage, it was ultimately written on the bodies of women and mothers, confusing them in order to appropriate their generative traits.
Self-Analysis is a fascinating reprise on the mode of disciplined self-inquiry that gave rise to psychoanalysis. From Freud's pioneering self-analytic efforts onward, self-analysis has been central to psychoanalytic training and psychoanalytic practice. Yet, only in recent years have analysts turned their attention to this wellspring of Freud's creation. The contributors to Self-Analysis represent diverse theoretical perspectives, but they share a common appreciation of the importance of self-analysis to the analytic endeavor. Their papers encompass systematic inquiries into the capacity for self-analysis, examples of self-analysis as an aspect of clinical work, and personal reflections on the role of self-analysis in professional growth. Among the questions explored: What do we mean by self-analysis? To what extent and under what conditions is self-analysis possible? How does it differ from ordinary introspection? What are the developmental antecedents of the capacity for self-analysis? What is the role of the "other" in self-analysis? What are the relationships among self-analysis, writing, and creativity? As Barron observes, the contributors to the book "grapple with the formidable ambiguities of self-analysis without either idealizing or devaluing its potential." What emerges from their effort is not only an illuminating window into the psychoanalyst's subjectivity as a fact of clinical life, but a far-reaching exemplification of the ways in which self-understanding is always a constitutive part of our understanding of others.
A "sad and corrupt" age, a period of "crisis" and "upheaval"—what T.S. Eliot famously summed up as "the panorama of futility and anarchy which is contemporary history." Modernism has always been characterized by its self-conscious sense of suffering. Why, then, was it so obsessed with laughter? From Baudelaire, Nietzsche, Bergson and Freud to Pirandello, Beckett, Hughes, Barnes, and Joyce, no moment in cultural history has written about laughter this much. James Nikopoulos investigates modernity’s paradoxical relationship with mirth. Why was the gesture we conventionally associate with happiness deemed the only sensible way of responding to a world, as Max Weber wrote, that had been "disenchanted of its gods?" In answering these questions, Nikopoulos also delves into our ongoing relationship with laughter. He looks to contemporary research in emotion and evolutionary theory, as well as to the two-thousand-plus-year history of the philosophy of humor, in order to propose a novel way of understanding laughter, humor, and their complicated relationships with modern life. The Stability of Laughter explores how art unsettles the simplifications we revert to in our attempts to make sense of human history and social interaction.
An aging actor (Ben) is discovered during the run-through of his Broadway production of Beckett’s Krapp’s Last Tape trying to find his subtext, in order to make his performance come alive to him and his audience. Following his performance, he returns home where he is abducted by a masked intruder and tied up in his home. Over the course of the novel Ben must revisit his past while simultaneously questioning his intruder to identify him and the reasons for his abduction. His earliest memories introduce the first and most profound love of his life, Sudie, an actor whose subsequent relations with Ben over her lifetime are related non-chronologically, revealing her – and her children’s – influence on Ben’s life, helping to ultimately reveal the intruder’s identity. We also come to know Ben and Sudie’s best friend Billy, a playwright, whose life and work also affect the action, showing the ways in which the early demise of both Billy and Sudie provide Ben the subtext he needs to perform Beckett’s theatre piece. The actions related in these memories alternate between locales at Ben’s NYC homes (uptown, midtown, and the Village), Vermont, Lexington (KY), Owen County (KY), Chicago, and Cozumel (Mexico). The novel concludes where it began, during a performance of Beckett’s play, revealing the ways in which Ben’s memories bring the play to life.
Coal is a topic that has been, remains, and will continue to be of significant interest to those concerned with the causes, course and consequences of industrialization and de-industrialization. This six-volume, reset collection provides scholars with a wide variety of sources relating to the Victorian coal industry.
Covering the most popular football cards ever issued from 1948 to 1993, the brand-new edition of Dr. James Beckett's nationally bestselling guide is filled with the latest-breaking facts on identification, prices in three condition grades, tips on buying and selling, current market trends, and more. Illustrated.
When did celebrity culture begin? In the Regency period, when people hungered for news of the illegitimate actress who became a duchess and the richest woman in England; and the hard-drinking Regency buck who horse-whipped anyone who criticised his terrible novels.
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