Samuel Beckett: Criticism (2): Annual Listing - Articles


File 1 Annual Listings (Monographs)
File 2 Annual Listings (articles & papers)
File 3 Topical Listings

Major biographies
Critical Collections
Reference & Bibliography

 General Studies
Journals: Beckett Issues
Miscellaneous (Exhib. Cats.)
File 4 Tables of Contents

Annual Listing (articles & papers)
1934-1959
  • Francis Watson, review of More Pricks than Kicks, in Bookman, 86 (1934), [q.p.].
  • Dylan Thomas, review of Murphy, in New English Weekly (17 March 1938), pp.454-55 [extract]; rep. in Lawrence Graver & Raymond Federman, eds., Samuel Beckett: Critical Heritage (London: Routledge & Kegan Paul 1974), p.47.
  • Kate O’Brien, review of Murphy, in Spectator (25 March 1938), [q.p.; rep. in in Lawrence Graver & Raymond Federman, eds., Samuel Beckett: Critical Heritage (London: Routledge & Kegan Paul 1974), p.48.
  • Richard Seaver, ‘Samuel Beckett, An Introduction’, Merlin, 1, 2 (1952), [extract].
  • Kenneth Tynan, review of London premier of Waiting For Godot (3 Aug. 55, Arts Theatre London), [extract].
  • Samuel Mintz, ‘Beckett’s Murphy: A Cartesian Novel’, Perspective, 2, 3 (1959), pp.156-65.
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1960-69
  • Melvin J. Friedman, ‘The Novels of Samuel Beckett: An Amalgam of Joyce and Proust’, Comparative Literature, 12, 1 (1960), pp.47-58 [available at JSTOR - online].
  • Vivian Mercier, ‘Samuel Beckett and the Sheela-na-gig’, in Kenyon Review, 23, 2 (Spring 1961), pp.299-324.
  • Theodor W. Adorno, ‘Versuch, das Endspiel zu verstehen’, Noten zur Literatur II (Frankfurt am Main: Suhrkamp 1961), pp.188-236.
    Theodor W. Adorno, ‘Engagement’, in Noten zur Literatur III (Frankfurt am Main: Suhrkamp 1965), pp.109-35, trans. as ‘Commitment’, in New Left Review, 87-88 (1974), pp.75-89 [extract].
  • Nathan A. Scott, ‘The Recent Journey into the Zone Of Zero: The Example of Beckett and his Despair of Literature’, in Centennial Review, 6, 2 (Spring 1962), pp. 144-181.
  • Germaine Brée, ‘Beckett’s Abstractors of Quintessence’, in The French Review, 36, 6 (May 1963), pp. 67-576 [available at JSTOR - online].
  • Susan Field Senneff, ‘Song and Music in Samuel Beckett’s Watt’, Modern Fiction Studies, 10, 2 (1964), pp.137-49.
  • John Fletcher, ‘Samuel Beckett and the Philosophers’, in Comparative Literature, 17, 1 (Winter, 1965), pp.43-56 [available at JSTOR - online]
  • Peter Brook, ‘Endgame as King Lear or How to Stop Worrying and Love Beckett’, Encore, 12 (Jan.-Feb. 1965, pp.8-12 [extract].
  • Sean O’Casey, ‘Not Waiting for Godot’, in Blasts and Benedictions: Articles and Stories, ed. Sean O’Casey (London: Macmillan; NY: St. Martin’s Press 1967), pp.51-52 [extract].
  • Marilyn Gaddis Rose, ‘The Purgatory Metaphor of Yeats and Beckett’, London Magazine, 7 (Aug. 67), pp.33-46.
  • Thomas E. Porter, S.J., ‘Samuel Beckett: Dramatic Tradition and the Ausländer’, Éire-Ireland, 4, 1 (Spring 1969), pp. 62-75 [extract].
  • Marilyn Gaddis Rose, ‘Solitary Companions in Beckett and Jack B. Yeats’, Éire-Ireland, 4, 2 (Summer 1969), pp. 66-80 [extract].
  • Alec Reid, ‘Master of Style in Two Languages ’, in The Irish Times (24 Oct. 1969).
  • J. C. C. Mays, ‘Beckett and the Irish’, Hibernia, 23 (7 Nov. 1969), p.14.
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1970-79
  • Alan Parkin, ‘Similarities in the Plays of Yeats and Beckett’, Ariel, 1 (July 1970), pp.49-58.
  • Marilyn Rose, ‘The Irish Memories of Beckett’s Voice’, Journal of Modern Literature, 2, 1 (Sept. 71), pp.127-32.
  • Hugh B. Staples, ‘Beckett in the Wake’, James Joyce Quarterly, 8, 4 (Summer 1971), pp.421-24.
  • Frederick S. Kiley, ‘Baedeker for Beckett’, Éire-Ireland, 6, 4 (Winter 1971), pp.104-09.
  • Melvin Friedman, ‘Samuel Beckett and His Critics Enter the 1970s’, Studies in the Novel, 3 (1973), pp.383-99.
  • Enoch Brater, ‘The “I” in Beckett’s Not I’, Twentieth-century Literature, 20, 3 (July 1974), pp.189-200.
  • James Atlas, ‘The Prose of Samuel Beckett: Notes from the Terminal Ward’, in Two Decades of Irish Writing, ed. Douglas Dunn (Manchester: Carcanet 1975), pp.186-96.
  • J. C. C. Mays, ‘Mythologising [var. Mythologised] Presences: Murphy and its Time’, in Myth and Reality in Irish Literature, ed. Joseph Ronsley (Toronto: Wilfrid Laurier 1977), pp.197-218.
  • Deirdre Bair, ‘No-Man’s-Land, Hellespont or Vacuum: Samuel Beckett’s Irishness’, Crane Bag, 1, 2 (1977),[q.p.], rep. in Crane Bag Book of Irish Studies (1977-1981), M. P. Hederman and R. Kearney eds. (Dublin: Blackwater 1982), pp.101-06.
  • James Acheson, ‘Schopenhauer, Proust and Beckett’, Contemporary Literature (1978), pp.165-79.
  • R. J. Davis, ‘Beckett as Translator’, Long Room [TCD], 16 & 17 (Spring/Autumn 1978), pp.29-34.
  • James Acheson, ‘Murphy’s Metaphysics’, Journal of Beckett Studies, 5 (1979), pp.9-24.
  • Alec Reid, ‘Test Flight: Beckett’s More Pricks than Kicks’, in The Irish Short Story, ed. P. Rafroidi and Terence Brown (Gerrards Cross: Colin Smythe; Atlantic Highlands: Humanities 1979), pp.227-35.
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1980-1989
  • Enoch Brater, ‘Why Beckett’s Enough is More or Less Enough’, Contemporary Literature, 21 (1980), pp.252-66.
  • Mary Power, ‘Samuel Beckett’s “Fingal” and the Irish Tradition’, Journal of Modern Literature, 9, 1 (1981-82), pp.151-56.
  • Theodor W. Adorno, ‘Trying to Understand Endgame’, in New German Critique, 26 (Summer 1982), pp.119-50.
  • Patrick Casement, ‘Samuel Beckett’s Relationship to his Mother-tongue’, International Review of Psychoanalysis, 9 (1982), pp.33-44.
  • Jan Bruck, ‘Beckett, Benjamin, and the Modern Crisis in Communication’, New German Critique, 26 (1982), pp.159-71.
  • Martha Fehsenfeld, ‘Beckett’s Late Works: An Appraisal’, Modern Drama, 25, 3 (Sept. 1982), pp.355-62.
  • Anthony Cronin, ‘Samuel Beckett: Murphy Becomes Unnamable’, in Heritage Now: Irish Literature in the English Language (Dingle: Brandon 1982), pp.169-84.
  • Paul Bové, ‘Beckett’s Dreadful Postmodernism: The Deconstruction of Form in Molloy’, in De-structing the Novel: Essays in Applied Postmodernist Hermeneutics, ed. Leonard Orr (Troy, N.Y.: Whitston 1982), pp.185-221.
  • Singer, Alan, ‘The Need of the Present: How It Is with the Subject in Beckett’s Novel’ in A Metaphorics of Fiction: Discontinuity and Discourse in the Modern Novel (Florida UP 1983), pp.115-56.
  • Allen Thiher, ‘Wittgenstein, Heidegger, The Unnamable, and Sound Thoughts on the Status of Voice in Fiction’, in Morris Beja, S.E. Gontarski and Pierre Astieret eds., Samuel Beckett: Humanistic Perspectives (Columbus: Ohio State UP 1983), p.65 [extract].
  • Roger Scruton, ‘Beckett and the Cartesian Soul’, in The Aesthetic Understanding (Manchester: Carcanet 1983), pp.222-43.
  • Allen Thiher, ‘Wittgenstein, Heidegger, The Unnamable, and Sound Thoughts on the Status of Voice in Fiction’, in Morris Beja, S. E. Gontarski and Pierre Astier eds., Samuel Beckett: Humanistic Perspectives (Columbus: Ohio State UP 1983), pp.65ff. [extract].
  • J. C. C. Mays, ‘Young Beckett’s Irish Roots, Irish University Review, 14, 1 (Spring, 1984), pp.18-33 [extract].
  • Richard Kearney, Myth and Motherland [Field Day pamphlets, No. 5] (Derry: Field Day Co 1984) [extract].
  • Richard Kearney, ‘Beckett: The Demythologising Intellect’, in Richard Kearney, ed., The Irish Mind: Exploring Intellectual Traditions (Dublin: Wolfhound 1985), pp.267-93 [extract].
  • Murray, Christopher, ‘Beckett Productions in Ireland: A Survey’, in Irish University Review, 14, 1 (Spring 1984), pp.103-25.
  • Seamus Deane, ‘Joyce and Beckett’, in Celtic Revivals: Essays in Modern Irish Literature 1880-1980 (London: Faber 1985), pp.123-34.
  • Gerald Dawe & Edna Longley, eds., D. E. S. Maxwell, ‘J. M. Synge and Samuel Beckett’, in Across the Roaring Hill: The Protestant Imagination in Modern Ireland (Belfast: Blackstaff Press 1985) [incls. D. E. S. Maxwell, ‘J. M. Synge and Samuel Beckett’, pp.25-38; Michael Allen, ‘A Note on Sex in Beckett’, pp.39-47].
  • Declan Kiberd, ‘Samuel Beckett and the Protestant Ethic’, in Augustine Martin, ed., The Genius of Irish Prose (Cork: Mercier 1985), pp.121-30 [extract].
  • Daniel Murphy, ‘Astride a Grave: Samuel Beckett’s Novels, Poems and Plays’, in Imagination and Religion in Anglo-Irish Literature 1930-1980 (Dublin: IAP 1987), pp.148-75.
  • David Cairns & Shaun Richards , Writing Ireland: Colonialism, Nationalism and Culture (Manchester UP 1988), pp.136-37 [extract].
  • J. C. C. Mays, ‘Esse Est Percipi: Beckett’s Plays’, in Irish Review, 1 (1986), pp.34-44.
  • James Acheson, ‘Chess with Audience ... Endgame’, in Patrick A. McCarthy, ed. Critical Essays on Samuel Beckett (Boston: G. K. Hall 1986), [q.p.].
  • Hugh Kenner, ‘Beckett at 80’, in The Irish Times (12 April 1986), [q.p.].
  • Lawrence Shainberg, interview with Beckett, in Paris Review (Fall 1987), [q.p.].
  • H. Porter Abbott, ‘Narratricide: Semauel Beckett as Autobiographer’, in Romance Studies, 11 (Winter 1987), pp.35-46.
  • David Lloyd, ‘Writing in the Shit: Beckett, Nationalism and the Colonial Subject’, Irish Review, 4 (Spring 1988), pp.59-72, enl. edn. in Modern Fiction Studies, 35, 1 (Spring 1989), [q.p.], and in Anomalous States: Irish Writing and the Post-colonial Moment (Dublin: Lilliput 1993), pp.41-58.
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1990-1999
  • Paul Davies, ‘No, he’s the last great romantic’, in Fortnight Magazine, 283 [‘Beckett Supplement’, ed. Richard York] (April 1990), [unpaginated supplement].
  • Paul Davies, ‘Twilight and Universal Vision: Samuel Beckett’s Ill Seen Ill Said’, Temenos [II] (1990), pp.88-103.
  • John Cronin, ‘Samuel Beckett: Murphy’, in The Anglo-Irish Novel, [volume 2] (Belfast: Appletree 1990), pp.159-69.
  • Gerry McCarthy, ‘On the Meaning of Performance in Beckett’s Not I’, Modern Drama, 33, 4 (Dec. 90), pp.455-69.
  • Anna McMullan, ‘Samuel Beckett’s Cette Fois: Betwen Time(s) and Space(s)’, French Studies: A Quarterly Review, 44, 4 (Oct. 90), pp.23-34.
  • Francis Doherty, ‘Watt in an Irish Frame’, Irish University Review, 20, 2 (Autumn 1990), pp.187-203.
  • J. C. C. Mays, ‘Samuel Beckett: 1907-1989’ [editorial essay], in The Field Day Anthology of Irish Writing, gen. ed. Seamus Deane (Derry: Field Day Co. 1991), pp.233-238.
  • Werner Huber, ‘Notes on Beckett’s Reception in Germany’, in Geert Lernout, ed., The Crows Behind the Plough: History and Violence in Anglo-Irish Poetry and Drama [Costerus Ser. Vol. 79] (Amsterdam: Rodopi 1991), pp.30-39.
  • J. C. C. Mays, ‘Flann O’Brien, Beckett, and the Undecidable Text of Ulysses’, Irish University Review, 22, 1 (Spring/Summer 1992), pp.127-34.
  • James Knowlson, Damned to Fame: The Life of Samuel Beckett (London: Bloomsbury 1996), 872pp.
  • Declan Kiberd, ‘Beckett and the Life to Come’, in S. E. Wilmer, ed., Beckett in Dublin (Dublin: Lilliput 1992), pp.75-84 [extract].
  • Thomas Kinsella, ‘Poems of Samuel Beckett’, Journal of Beckett Studies, 2, 2 (1993), pp.15-18.
  • Christopher Ricks, ‘Beckett’s Dying Words: The Vision of Positive Annihilation and the Refusal to Discard the Real’, Times Literary Supplement (9 July 1993), pp.13-15.
  • Robert Welch, ‘Samuel Beckett: “Matrix of Surds”, in Changing States: Transformations in Modern Irish Writing (London: Routledge 1993), pp.162-86.
  • John Sexton, ‘Desire of Oblivion’, review of Beckett’s Dying Words by Christopher Ricks, Critical Essays on Samuel Beckett, ed. Lance St. John Butler and The Beckett Studies Reader, ed. S. E. Gontarski, in Times Literary Supplement (1 Oct. 93), pp.7-8.
  • Rodney Sharkey, ‘“Irish? Au contraire!”: The Search for Identity in the Fictions of Samuel Beckett’, Journal of Beckett Studie,s 3, 2 (1994), pp.1-18.
  • James E. Robinson, ‘Writing Towards Zero: Beckett at the Ending’, Irish University Review, 25, 2 (Autumn/Winter 1995), pp.215-31.
  • Declan Kiberd, ‘Beckett’s Texts of Laughter and Forgetting’, in Inventing Ireland (London: Cape 1995), pp.530-50 [extract].
  • Declan Kiberd, Inventing Ireland: The Literature of the Modern Nation (London: Jonathan Cape 1995) [‘Religious Writing: Beckett and Others’, pp.455-67 and ‘Beckett’s Texts of Laughter and Forgetting’, pp.531-50; extract].
  • Patricia Coughlan, ‘“The Poetry is Another Pair of Sleeves”: Beckett, Ireland and Modernist Lyric Poetry‘, in Patricia Coughlan and Alex Davis, eds., Modernism in Ireland: The Poetry of the 1930s (Cork UP 1995), pp.173-208.
  • Anthony Roche, ‘Beckett and Yeats: Among the Dreaming Shades’, and ‘Beckett and Behan: Waiting for Your Man’, in Contemporary Irish Drama From Beckett to McGuinness [Gill’s Studies in Irish Literature, gen. ed. Terence Brown] (Dublin: Gill & Macmillan 1995), pp.13-35 and 36-71.
    Mary Lynch, ‘“For Easter/For Ireland”: The Epiphanies of Samuel Beckett’s Cascando’, in Studies (Spring 1996), pp.27-36.
  • Karl-Heinz Westarp, ‘Aspects of Time and Identity in Samuel Beckett’, in Karl-Heinz Westarp and Michael Böss, eds., Ireland: Towards New Identities? (Denmark/Oakville, Conn.: Aarhus UP 1998), pp.157-64.
  • Gerry Smyth, Decolonisation and Criticism: The Construction of Irish Literature (London: Pluto Press 1998), p.38 [extract].
  • Mary Lydon & David Lloyd, ‘The Beckett family - Samuel Beckett’ [entry], in W. J. McCormack, ed., Blackwood Companion to Modern Irish Culture (Oxford: Blackwell 1999), pp.56-61.
  • Christoph Bode, ‘Dies zeigt sich’: A Wittgensteinian Reading of Samuel Beckett’s Dramatic Art’, in Twentieth-Century Theatre and Drama in English: Festschrift for Heinz Kosok on the Occasion of his 65th Birthday, ed. Jürgen Kamm (WVT Wissenschaftlicher Verlag Trier 1999) - Part II: Ireland [q.pp.].
  • Werner Huber, ‘Notes on Beckett’s Reception in Germany’, in The Crows Behind the Plough: History and Violence in Anglo-Irish Poetry and Drama, ed. Geert Lernout [Costerus Ser., Vol. 79] (Amsterdam: Rodopi 1991), pp.29-39.
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2000-
  • Paul Davies, ‘Beckett, the Buddha and The Goddess: Womb of the Great Mother Emptiness’, in Samuel Beckett Today/ Aujourd’hui, 9 (2000), [q.p.].
  • John Fletcher, Samuel Beckett: Waiting for Godot, Krapp’s Last Tape, Endgame (London: Faber & Faber 2000), 256pp.
  • Christopher Morash, ‘A Night at the Theatre 6: Waiting for Godot […], Pike Theatre, Friday 28 October 1955’, in A History of Irish Theatre 1601-2000 (Cambridge UP 2002), pp.199-208 [Chap.]
  • Lois Gordon, Reading Godot (Yale UP 2002), q.pp.
  • Alex Davis, ‘The Irish Modernists and Their Legacy’, in The Cambridge Companion to Contemporary Irish Poetry, ed. Matthew Campbell (Cambridge UP 2003), pp.76-93, espec. p.80.
  • Daniel Katz, ‘Beckett’s Measures: Principles of Pleasure in Molloy and “First Love”’, in Modern Fiction Studies, 49, 2 (2003), pp.246-60.
  • Alan Gillis, Irish Poetry of the 1930s (Oxford: OUP 2005), viii, 228pp. [espec. Chap. 4: ‘Denis Devlin, Brian Coffey, and Samuel Beckett: Across the Tempest of Emblems’].
  • Seán Kennedy, ‘Becett Reviewing MacGreevy: A Reconsideration’, in Irish University Review (Sept. 2005), pp.273-88.
  • Terence Brown, ‘Two Post-modern Novelists: Beckett and O’Brien’, in The Cambridge Guide to the Irish Novel, ed. J. W. Foster (Cambridge UP 2006), pp.205-22; espec. pp.205-15.
  • Anne Markey, ‘Bodies on Samuel Beckett’s Fiction and Drama’, in Essays In Irish Literary Criticism: Themes of Gender, Sexuality, and Corporeality, ed. Deirdre Quinn & Sharon Tighe-Mooney (Mellen Press 2009) [q.pp.]
  • John P. Harrington, ‘Samuel Beckett and the Countertradition’ [chap.], in The Cambridge Companion to Twentieth-Century Irish Drama, ed. Shaun Richards (Cambridge University Press 2004) [q.pp.]
  • Neil Cornwell [chap. on Beckett,] in The Absurd in Literature (Manchester UP 2006), xii, 354pp. [also deals with Flann O’Brien, Franz Kafka and Daniil Kharms]
  • Ciaran Ross, ‘“On the Black Road Home”: Re-radicalizing Beckett’s Irish Protestant Legacy (A Re-reading of All That Fall)’, in Sub-Versions: Trans-National Readings of Modern Irish Literature, ed. Ross (Amsterdam: Rodopi Press 2010), q.pp.
  • Denis Donogue, ‘Beckett in Foxrock’, in Irish Essays (Cambridge UP 2011), pp.201-14. [Pt. IV; final essay].
  • Colm Tóibín, ‘Beckett Meets His Afflicted Mother’, in New Ways to Kill Your Mother: Writers and Their Families (London: Viking [Penguin] 2012), pp.111-33.
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