Samuel Beckett: Criticism (4) - Tables of Contents

Martin Esslin, ed. Samuel Beckett: A Collection of Critical Essays (Englewood Cliffs: Prentice-Hall 1965; rep. 1987). CONTENTS: Martin Esslin, Introduction [1]; Samuel Beckett and Georges Duthuit, ‘Three Dialogues’ [16]; John Fletcher, ‘The Private Pain and the Whey of Words: A Survey of Beckett’s Verse’ [23]; Maurice Nadeau, ‘Samuel Beckett: Humor and the Void’ [33 ]; A. J. Leventhal, ‘The Beckett Hero’ [37]; Hugh Kenner, ‘The Cartesian Centaur’ [52]; Jacqueline Hoefer, ‘Watt’ [62]; Jean-Jacques Mayoux, ‘Samuel Beckett and Universal Parody’ [77]; Dieter Wellershoff, ‘Failure of an Attempt at De-mythologization: Samuel Beckett’s Novels’ [92]; Alain Robbe-Grillet, ‘Samuel Beckett, or “Presence” in the Theatre’ [108 ]; Eva Metman, ‘Reflections on Samuel Beckett’s Plays’ [117]; Günther Anders, ‘Being without Time: On Beckett ’s Play Waiting for Godot’ [140]; Ross Chambers, ‘Beckett’s Brinkmanship’ [152]; Ruby Cohn, ‘Philosophical Fragments in the Works of Samuel Beckett’ [169]; Chronology [178]; Notes on contributors [180]; Select bibliography [181-82].

[W. J. McCormack, ed.,], Beckett at 60: A Festschrift (London: Calder & Boyars 1967), 100pp., front., 4 plates (incl. ports.). CONTENTS: J. Calder, ‘Introduction’ [1]; Part 1. [Reminiscences] A. J. Leventhal, ‘The Thirties’ [7]; Maria Jolas, ‘A Bloomlein for Sam’ [14]; Jerôme Lindon, ‘First Meeting with Samuel Beckett’ [17]; Jack MacGowran, ‘Working with Samuel Beckett’ [20]; Harold Hobson, ‘The First Night of Waiting for Godot’ [25]; John Fletcher, ‘In Search of Beckett’ [29]; Alan Schneider, ‘Waiting for Beckett’ [34]; Part 2. [Criticism] Martin Esslin, ‘Samuel Beckett’s Poems’ [55]; Hugh Kenner, ‘Progress Report 1962-65’ [61]; Madelaine Renaud, ‘Beckett the Magnificant’ [81]; Robert Pinget, ‘My Dear Sam’ [84]; Harold Pinter, ‘Beckett ’ [86]; Charles Monteith ‘Personal Note’ [87]; Fernando Arrabal, ‘In Connection with Samuel Beckett’ [88]; Philippe Staib, ‘A Propos Samuel Beckett’ [89]; Aidan Higgins, ‘Tribute’ [91]; Mary Hutchinson, ‘All the Livelong Way’ [93]; Alan Simpson, ‘Samuel Beckett’ [96]; Jocelyn Herbert, ‘A Letter’ [98]; George Devine, ‘Last Tribute’ [99]; Notes on Contributors [100].

Bell Gaele Chevigny, ed., Twentieth-Century Interpretations of ‘Endgame’ (NJ: Prentice Hall 1969), 120pp. CONTENTS: B. G. Chevigny, ‘Introduction’ [1]; Alan Schneider, ‘Waiting for Beckett: A Personal Chronicle’ [14]; Martin Esslin, ‘Samuel Beckett: The Search for the Self’ [22]; R. M. Goldman, ‘Endgame and its Scorekeepers [33]’ ; Ruby Cohn, ‘Endgame’ [40]; Hugh Kenner,’ Life in the Box’ [53]; A. Easthope, ‘Hamm, Clov, and Dramatic Method in Endgame’ [61]; R. Chambers, ‘An Approach to Endgame’ [71]; T. W. Adorno; ‘Towards an Understanding of Endgame’ [82]; Chronology of Important Dates [115]; Notes on Contributors [117]; Sel;ected bibliography [119-20].

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Melvin J. Friedman, ed., Samuel Beckett Now: Critical Approaches to his Novels, Poetry and Plays (Chicago UP 1970), 275pp.; CONTENTS: M. J. Friedman, ‘Introduction’ [3]; Frederick J. Hoffman, ‘The Elusive Ego: Beckett’s M’s’ [31]; Bruce Morrissette, ‘Robbe-Grillet as a critic of Samuel Beckett’ [59]; Germaine Brée, ‘The Strange World of Beckett’s “grands articulés”’ [73]; Edith Kern, ‘Black Humor: The Pockets of Lemuel Gulliver and Samuel Beckett’ [89]; Raymond Federman, ‘Beckettian Paradox: Who is Telling the Truth?’ [103]; Robert Champigny, ‘Adventures of the First Person’ [119]; David Hayman, ‘Molloy or the Quest for Meaninglessness: A Global Interpretation’ [129]; John Fletcher, ‘Interpreting Molloy’ [157]; Lawrence E. Harvey, ‘A Poet’s Initiation’ [171]; Ruby Cohn, ‘The Laughter of Sad Sam Beckett’ [185]; Rosette Lamont, ‘Beckett’s Metaphysics of Choiceless Awareness’ [199]; Jackson R. Bryer, ‘Samuel Beckett: A Checklist of Criticism’ [219-59].

Ruby Cohn, ed., Samuel Beckett: A Collection of Criticism (NY: McGraw-Hill 1975), 138pp. CONTENTS: Chronology of Beckett’s Life [vii]; Chronology of Beckett’s Work [xiii]; Ruby Cohn, ‘Inexhaustible Beckett: An Introduction’ [1]; Kay Boyle, ‘All Mankind is Us’ [15]; Hugh Kenner, ‘Shades of Syntax’ [21]; Yasunari Takahashi, ‘Fool’s Progress’ [33]; John Fletcher, ‘Beckett as Poet’ [41]; H. Porter Abbott, ‘King Laugh: Beckett’s Early Fiction’ [51]; Alec Reid, ‘From Beginning to Date: Some Thoughts on the Plays of Samuel Beckett’ [63]; Jan Hokenson, ‘Three Novels on Large Black Pauses’ [73]; Hersh Zeifman, ‘Religious Imagery in the Plays of Samuel Beckett’ [85]; Ludovic Janiver, ‘Place of Narration/Narration of Place’ [96]; Elin Diamond, “what? ...who? ...no! ...she!” - The Fictionalizers in Beckett’s Plays’ [111]; Dougald McMillan, ‘Samuel Beckett and the Visual Arts: The Embarrassment of Allegory’ [121]; Select bibliography [137-38].

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Kathleen McGrory & John Unterecker, eds., Yeats, Joyce, and Beckett: New Light on Three Modern Irish Writers (Lewisburg: Bucknell UP 1976). CONTENTS: Preface [9]; Notes on Contributors [15-16]; Part 1. W. B. Yeats; John Unterecker, ‘The Yeats Landscape’ [photographs] [21]; Adrienne Gardner, ‘Deirdre: Yeats’s Other Greek Tragedy’ [35]; John Unterecker, ‘Interview with Anne Yeats’ [39]; Austin Clarke, ‘Glimpses of W. B. Yeats’ [46]; Kathleen McGrory, ‘Scholarship Frowned into Littleness?’ [52]; Bibl. of Works Mentioned [67]; Part 2. James Joyce; William York Tindall, ‘The Joyce Landscape’ [photographs] [73]; Raymond J. Porter, ‘The Cracked Lookingglass’ [87]; Margaret C. Solomon, ‘Striking the Lost Chord: The Motif of “Waiting” in the Sirens Episode of Ulysses’ [92]; Nathan Halper, ‘The Aesthetics of Joyce: James Joyce and His Fingernails’ [105]; Kathleen McGrory, ‘Interview with Carola Giedion-Welcker, June 15, 1973’ [110]; Bernard Benstock, ‘James Joyce Industry: A Reassessment’ [118-32]; Part 3. Samuel Beckett; Kathleen McGrory, ‘The Beckett Landscape’ [photographs] [135]; Vivian Mercier, ‘Ireland/The World’ [147]; Sighle Kennedy, ‘Spirals of Need: Irish Prototypes in Samuel Beckett’s Fiction’ [153]; Rubin Rabinovitz, ‘The Deterioration of Outside Reality in Samuel Beckett’s Fiction’ [167]; Kathleen McGrory and John Unterecker, ‘Interview with Jack MacGowran’ [172]; John Eichrodt and Kathleen McGrory, ‘Chronological Bibliography of Works by William York Tindall’ [183-84].

Barbara Reich Gluck, Beckett and Joyce: Friendship and Fiction (Bucknell UP 1979), 225pp. CHAPS.: Friendship [19]; Apprenticeship 1929-1934 [41]; The Joycean Shadow - Murphy, Watt, Mercier et Camier [70]; The voice of the Artist [105]; Me to Play [141]; Appendix A: Beckett and Irish Literature [164]; Joyce and the Jews [169. Notes [171]; Works Cited [198]. (Available at Google Books - online; accessed 10.01.2013.)

Eric P. Levy, Beckett and the Voice of the Species: A Study of the Prose Fiction (Dublin: Gill & Macmillan 1980), ix, 144pp. CHAPS: Introduction; The Pure Narrator and the Experience of Nothing; More Pricks than Kicks and Murphy: Birth of the Beckettian Narrator; Watt: Narration and Problems of Subjectivity; Mercier and Camier: Narration, Dante and the Couple; Molloy, Malone Dies, The Unnamable: Beckettian Man and the Voices of the Species; Texts for Nothing: Farewell to Beign; How It is: An Allegory for Time and Personal Identity; Looking for The Lost Ones; The Beckettian Narrator in Six Stories and Nouvelles; Fizzles. [See Commentary, infra.]

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Morris Beja, S. E. Gontarski, & Pierre A. Astier, eds., Samuel Beckett: Humanistic Perspectives (Columbus: Columbus: Ohio State UP 1983), 217pp. CONTENTS: Ruby Cohn, ‘Beckett’s Theater Resonance’; James Knowlson, ‘Beckett’s “bits of pipe”’; Edith Kern, ‘Beckett’s Modernity and Medieval Affinities’; Richard N. Coe, ‘Beckett’s English’; Rubin Rabinovitz, ‘Unreliable Narrative in Murphy’; H. Porter Abbott, ‘The Harpooned Notebook: Malone Dies and the Conventions of Intercalated Narrative’; Allen Thiher, ‘Wittgenstein, Heidegger, The Unnamable, and Some Thoughts on the Status of Voice in Fiction’ [65-see Comm file]; Kristin Morrison, ‘Neglected Biblical Allusions in Beckett’s Plays: ‘Mother Pegg’ Once More’; Yasunari Takahashi, ‘Qu’est-ce qui arrive?: Some Structural Comparisons of Beckett’s plays and Noh; Frederik N. Smith, ‘Fiction as Composing Process: How It Is; Judith E. Dearlove, ‘Syntax Upended in Opposite Corners: Alterations in Beckett’s Linguistic Theories’; S. E. Gontarski, ‘Film and Formal Integrity’; Hersh Zeifman, ‘Come and Go: A Criticule’; Antoni Libera, ‘The Lost Ones: A Myth of Human History and Destiny’; Enoch Brater, ‘The Company Beckett Keeps: The Shape of Memory and One Fablist’s Decay of Lying’; Nicholas Zurbrugg, ‘Beckett, Proust, and Burroughs, and the Perils of “image warfare”’; Appendix: The Ohio Impromptu Holograph and Typescripts.

John Pilling, ed., Cambridge Companion to Beckett (Cambridge: CUP 1984), 249pp. CONTENTS: Notes on Contributors [ix]; Preface [xiii]; Chronology of Beckett’s Life [xv]; List of Abbreviations [xxi]; A Note on Titles [xxii]; Rupert Wood, ‘An Endgame of Aesthetics: Beckett as Essayist’ [1]; John Pilling, ‘Beckett’s English Fiction’ [I7]; Paul Davies, ‘Three Novels and Four nouvelles: Giving up the Ghost be Born at Last’ [43]; Michael Worton, ‘Waiting for Godot and Endgame: Theatre as Text’ [67]; Paul Lawley, ‘Stages of Identity: From Krapp’s Last Tape to Play’ [88]; H. Porter Abbott, ‘Beginning Again: The Post-narrative Art of Texts for Nothing and How It Is’ [106]; Jonathan Kalb, ‘The Mediated Quixote: The Radio and Television Plays, and Film’ [124]; Keir Elam, ‘Dead Heads: Damnation-narration in the “dramaticules”’ [145]; Andrew Renton, ‘Disabled Figures: From the Residua to Stirrings Still’ [167]; Roger Little, ‘Beckett’s Poems and Verse Translations or: Beckett and the Limits of Poetry’ [184]; Anna McMullan, ‘Beckett as Director: The Art of Mastering Failure’ [196]; Ann Beer, ‘Beckett’s Bilingualism’ [209]; P. J. Murphy, ‘Beckett and the Philosophers’ [222]; Further reading [241-44]. See Bibliography, in RICORSO Bibliography, “Scholars” [infra].

Maurice Harmon, ed., ‘Beckett Special Issue’, Irish University Review, 14, 1 (Spring 1984). CONTENTS: Patrick Wakeling, ‘Looking at Beckett: The Man and the Writer’ [3]; J. C. C. Mays, ‘Young Beckett’s Irish Roots’ [18]; Roger Little, ‘ Beckett’s Mentor: Rudmose-Brown: Sketch for a Portrait’ [34]; David Berman, ‘Beckett and Berkeley’ [42]; T. P. Dolan, ‘Samuel Beckett’s Dramatic Use of Hiberno-English’ [46]; Seamus Deane, ‘Joyce and Beckett’ [57]; Ben Barnes, ‘Aspects of Directing Beckett’ [69]; Derek Mahon, ‘A Noise Like Wings: Beckett’s Poetry’ [88]; Aidan Higgins, ‘Foundering in Reality: Godo, Papa, Hamlet and Three Bashes at a Festchrift’ [93]; John Banville, ‘Out of the Abyss’ [102]; Christopher Murray, ‘Beckett Productions in Ireland: A Survey’ [103-25].

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Enoch Brater, ed., Beckett at 80: Beckett in Context (NY: OUP 1986), 238pp. CONTENTS: Enoch Brater, ‘Introduction: The Origins of a Dramatic Style’ [3]; Part 1. [Retrospectives] Ruby Cohn, ‘Growing (up?) with Godot’ [13]; John Russell Brown, ‘Beckett and the Art of the Nonplus’ [25]; Normand Berlin, ‘The Tragic Pleasure of Waiting for Godot’ [46]; Part 2. [Perspectives] Michael Goldman, ‘Vitality and Deadness in Beckett’s Plays’ [67]; Charles R. Lyons, ‘Happy Days and Dramatic Convention’ [84]; Andrew Kennedy, ‘Krapp’s Dialogue of Selves’ [102]; Martin Esslin, ‘Samuel Beckett: Infinity, Eternity’ [110]; Keir Elam, ‘Not I: Beckett’s Mouth and the Ars(e) Rhetorica’ [124]; Bernard Beckerman, ‘Beckett and the Act of Listening’ [149]; Katharine Worth, ‘Beckett’s Auditors: Not I to Ohio Impromptu’ [168]; James Knowlson, ‘Ghost Trio/Geister Trio’ [193]; Thomas R. Whitaker, “Wham, Bam, Thank You Sam”: The Presence of Beckett’ [208]; Notes on Contributors [231-33].

[No ed.,], As No Other Dare Fail: For Samuel Beckett on his 80th Birthday by His Friends and Admirers (London: J. Calder; NY: Riverrun 1986), 135pp. CONTENTS: John Calder, ‘Embarrassing Mr. Beckett’ [11]; Martin Esslin, ‘Dionysos’ Dianoetic Laugh’ [15]; Tom Bishop, ‘The Temptation of Silence’ [24]; James Knowlson, ‘The Beckett Archive’ [30]; Aldo Tagliaferri, ‘The Language of Paradox in Beckett’ [36]; Enoch Brater, ‘Cromlechs and Voyelles’ [43]; Colin Duckworth, ‘An Unpublished Letter to Beckett’ [50]; S. E. Gontarski, ‘Molloy and the Reiterated Novel’ [57]; Dougald McMillan, ‘Beckett at Forty: The Capital of the Ruins and “Saint-Lô”’ [67]; Samuel Beckett, ‘The Capital of the Ruins’ [71]; Tributes from: Richard Ellman [79]; Billie Whitelaw [81]; David Warrilow [87]; Charles Monteith [89]; Siegfried Unseld[91]; Martha Fehsenfeld [96]; Barney Rosset [97]; Eoin O’Brien [99]; Sorel Etrog [101]; Barry McGovern [107]; Leonard Fenton [109]; John Fletcher [111]; John Minihan - photographs [112]; Pierre Chabert, ‘Rehearsing Pinget’s Hypothesis’ [117]; Notes on Contirbutors [133-35].

S. E. Gontarski, ed., On Beckett: Essays and Criticism (NY: Grove 1986), 418pp. CONTENTS: S. E. Gontarski, ‘Crritics and Crriticism: “Getting Known” ’ [1]; Richard W. Seaver, ‘Beckett and Merlin’ [19]; Dougald McMillan, ‘Samuel Beckett and the Visual Arts: The Embarrassment of Allegory’ [29]; Wolfgang Iser, ‘When is the End Not the End? The Idea of Fiction in Beckett’ [46]; Rubin Rabinovitz, ‘Murphy and the Uses of Repetition’ [67]; Lawrence E. Harvey, ‘Watt’ [91]; Eric P. Levy, ‘Mercier and Camier: Narration, Dante, and the Couple’ [117]; Georges Bataille, ‘Molloy’s Silence’ [131]; Maurice Blanchot, ‘Where Now? Who Now? [141]; J. E. Dearlove, ‘The Voice and Its Words: How It Is’ [150]; John Pilling, ‘Shards of Ends and Odds in Prose: From Fizzles to The Lost Ones’ [169]; Marjorie Perloff, ‘Between Verse and Prose: Beckett and the New Poetry’ [191]; Dougald McMilan, ‘Worstward Ho’ [207]; Richard Toscan, ‘MacGowran on Beckett’ [interview] [213]; Tom Bishop, ‘Blin on Beckett’ [interview] [226]; Alan Schneider, ‘Working with Beckett’ [236]; Herbert Blau, ‘Notes from the Underground: Waiting for Godot and Endgame’ [255]; Walter D. Asmus, ‘Beckett directs Godot’ [280]; Ruby Cohn, ‘Beckett Directs: Endgame and Krapp’s Last Tape’ [291]; S. E. Gontarski, ‘Literary Allusions in Happy Days’ [308]; Paul Lawley, ‘Counterpoint, Absence, and the Medium in Beckett’sNot I’ [325]; Walter D. Asmus, ‘Rehearsal Notes for the German Premiere of Beckett’s That Time and Footfalls’ [335]; James Knowlson, ‘Footfalls’ [350]; Martin Esslin, ‘Samuel Beckett and the Art of Radio’ [360]; Enoch Brater, ‘Light, Sound, Movement, and Action in Beckett’s Rockaby’ [385]; Pierre Astier, ‘Beckett’s Ohio Impromptu: A View from the Isle of Swans’ [394]; S. E. Gontarski, ‘Quad and Catastrophe’ [404]; Victor Bockris, [editor] ‘Burroughs with Beckett in Berlin’ [409]; Notes on Contributors [415-18].

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Terence Brown & Nicholas Grene, eds., ‘Beckett at 80: A Birthday Tribute’, Hermathena, 141 (Winter 1986). CONTENTS: W. A. Watts, ‘Preface’ [3]; A. Norman Jeffares ‘Foreword’ [7]; Derek Mahon, “An image from Beckett’ [10]; Alec Reid, ‘ Impact and Parable in Beckett: A First Encounter with Not I’ [12]; W. J. McCormack, ‘Seeing Darkly: Notes on T. W. Adorno and Samuel Beckett’ [22]; Declan Kiberd, ‘Beckett and Kavanagh: Comparatively Absurd?’ [45]; Terence Brown, ‘Some Young Doom: Beckett and the Child’ [56]; Brendan Kennelly, ‘A Small Success’ [65]; Vivian Mercier, ‘ Poet and Mathematician’ [66]; Anthony Roche, ‘Beckett’s contexts’ [72-79].

James Acheson & Kateryna Arthur, eds., Beckett’s Later Fiction and Drama: Texts for Company (London: Macmillan; NY: St. Martin’s 1987), 206pp. CONTENTS: Melvin J. Friedman, ‘Foreword’ [vii-xii]; Notes on the Contributors [xv]; Robert Wilcher, “Out of the Dark”: Beckett’s Texts for Radio’ [1]; Katharine Worth, ‘Past into Future: Krapp’s Last Tape to Breath’ [18]; Martin Esslin, ‘Towards the Zero of Language’ [35]; Rubin Rabinovitz, ‘The Self Contained: Beckett’s Fiction in the 1960s’ [50]; Brian Finney, ‘Still to Worstward Ho: Beckett’s Prose Fiction since The Lost Ones’ [65]; Charles R. Lyons, ‘Beckett’s Fundamental Theatre: The Plays from Not I to What Where’ [80]; Dougald McMillan, ‘Human Reality and Dramatic Method: Catastrophe, Not I and the Unpublished Plays’ [98]; James Acheson, ‘The Shape of Ideas: That Time and Footfalls’ [115]; Kateryna Arthur, ‘Texts for Company’ [136]; Nicholas Zurbrugg, ‘Ill Seen, Ill Said and the Sense of an Ending’ [145]; Enoch Brater, ‘Voyelles, Cromlechs and the Special (W)rites of Worstward Ho’ [160]; Colin Duckworth, ‘Beckett’s new Godot’ [175]; S. E. Gontarski, ‘Company for Company: Androgyny and Theatricality in Samuel Beckett’s Prose’ [193-202].

Harold Bloom, ed., Samuel Beckett’s ‘Waiting for Godot’ (NY: Chelsea House 1987), 131pp. CONTENTS: Editor’s Note [vii]; Harold Bloom, ‘Introduction’ [1]; John Fletcher, ‘Bailing Out the Silence’ [11]; Martin Esslin, ‘The Search for the Self’ [23]; Ruby Cohn, ‘Waiting’ [41]; Hugh Kenner, ‘Waiting for Godot’ [53]; Richard Gilman, ‘The Waiting Since’ [67]; Bert O. States, ‘The Language of Myth’ [79]; Eric Gans, ‘Beckett and the Problem of Modern Culture’ [95]; Edith Kern, ‘Beckett’s Modernity and Medieval Affinities’ [111]; Chronology [119]; Notes on Contributors [121]; Bibliography [123-24].

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Ruby Cohn, ed., Samuel Beckett: Waiting for Godot: A Casebook (London: Macmillan 1987). CONTENTS: Ruby Cohn, ‘Introduction’ [9]; Part 1. [The Stage] Eric Bentley, ‘An Anti-play’ [23-24]; Marcel Frère, ‘Roger Blin’s Production of “En Attendant Godot’ (1953)’ [24]; Mary Benson, ‘Blin on Beckett’ [26-28]; Elmar Tophoven, ‘A French Dramatist from Ireland’ [28-30]; Peter Hall, ‘Waiting for What: First London Production (1955)’ [30]; Philip Hope-Wallace, ‘Two Evenings with Two Tramps’ [32-33]; Alan Simpson, ‘First Dublin Production (1956)’ [33]; Alan Schneider, ‘Miami Production (1956)’ [37-43]; Jack Anderson, ‘Mink-Clad Audience Disappointed: Miami (1956)’ [43], Antonia Rodríguez-Gago, ‘Beckett in Spain: Madrid (1955) and Barcelona (1956)’ [45-46]; Friedrich Luft, ‘Beckett Produces Beckett: West Berlin (1975)’ [46-48]; James Knowlson, ‘Beckett’s Production Notebooks’ [48]; Dougald McMillan, ‘The Music in “Waiting for Godot”’ [53]; Dan Sullivan, ‘Waking up “Godot”: Los Angeles (1977)’ [57-59]; Kenneth Rea, “En Attendant Godot”: Avignon (1978)’ [59-60]; Mel Gussow, ‘South African Version at New Haven (1980)’ [60-62]; Anne C. Murch, ‘Icons for a Theatre Delighting in Quoting Itself’ [62-67]; Linda Ben-Zvi, ‘All Mankind is Us: “Godot” in Israel (1985)’ [67-70]; Peyton Glass III, ‘Beckett, Axial Man’ [70-76]; John Fletcher, ‘The Play’s Balance’ [76-78]; Part 2. [The Study] Colin Duckworth, ‘Godot: Genesis and Composition’ [81-86]; Hersh Zeifman, ‘The Alterable Whey of Words: The Play’s Texts’ [86-95], Anselm Atkins, ‘The Structure of Lucky’s Speech’ [95-96]; Harry Cockerham, ‘Bilingual Playwright’ [96-104]; Bert O. States, ‘Plots’ [104-09]; Raymond Williams, ‘A Modern Tragedy’ [109-11]; Richard Keller Simon, ‘Beckett, Comedy and the Critics’ [111]; David Bradby, ‘Beckett’s Shapes’ [114-17]; David H. Hesla, ‘Beckett’s Philosophy’ [117-21]; Jacques Dubois, ‘Beckett and Ionesco’ [121-30]; Hans Meyer, ‘Brecht’s Drums, A Dog and Godot’ [130-35]; Katherine Worth, ‘Irish Beckett’ [135-42]; Yasunari Takahashi, ‘Qu’est-ce qui arrive?: Beckett and Noh’ [142-45]; Dina Sherzer, ‘De-Construction in Godot’ [145-50]; Maria Minich Brewer, ‘A Semiosis of Waiting’ [150-55]; Peter Gidal, ‘Dialogue and Dialectic in Godot’ [155-58]; James Mays, ‘Allusion and Echo in Godot’ [158-67]; Part 3. [At Large] Martin Esslin, ‘The Universal Image’ [171]; Stanley E. Gontarski, ‘War Experiences and Godot’ [175-76]; Kay Boyle, ‘All Mankind is Us’ [176-80]; Sean O’Casey, ‘Not Waiting for Godot’ [181]; Sidney Homan, ‘Playing Prisons’ [181]; Eric Gabs, ‘Beckett and the Problem of Modern Culture’ [184-90]; Alec Reid, ‘An Act of Love’ [190-96]; Christopher Mosey, ‘The Ulitmate Test’ [196]; Chronology of Beckett’s Works [197]; Select bibliography [201]; Notes on Contributors [203-05].

Harold Bloom, ed., Samuel Beckett’s ‘Endgame’ [Modern Critical Interpretations] (NY: Chelsea House 1988), 160pp. CONTENTS: Editor’s note [vii]; Harold Bloom, ‘Introduction’ [1]; Theodor W. Adorno, ‘Trying to Understand Endgame’ [9]; Hugh Kenner, ‘Life in the Box’ [41]; Antony Easthope, ‘Hamm, Clov, and the Dramatic Method in Endgame’ [49]; Stanley Cavell, ‘Ending the Waiting Game: A Reading of Beckett’s Endgame’ [59]; Richard Gilman, ‘Beckett’ [79]; Paul Lawley, ‘Symbolic Structure and Creative Obligation in Endgame’ [87]; Ruby Cohn, ‘The Play that was Rewritten: Fin de partie’ [111]; Sidney Homan, ‘Endgame: The Playwright Completes Himself’ [123]; Chronology [147]; Notes on Contributors [149]; Bibliography [151-54].

Robin J. Davis & Lance St. John Butler, eds., “Make Sense Who May”: Essays on Samuel Beckett’s Later Works (Gerrards Cross: Colin Smythe 1988; 1989), 175pp. CONTENTS: Robin J. Davis & Lance St. John Butler, ‘Introduction’ [vii]; Paul Lawley, ‘The Difficult Birth: An Image of Utterance in Beckett’ [1]; Rosemary Pountney, ‘Less = More: Developing Ambiguity in the Drafts of Come and Go’ [11]; Karen L. Laughlin, ‘Seeing is Perceiving: Beckett’s Later Plays and the Theory of Audience Response’ [20]; Andrew Kennedy, ‘Mutations of the Soliloquy: Not I to Rockaby’ [30]; Lois Oppenheim, ‘Anonymity and Individuation: The Interrelation of Two Linguistic Functions in Not I and Rockaby’ [36]; Mary A. Doll, ‘Walking and Rocking: Ritual Acts in Footfalls and Rockaby’ [46]; R. Thomas Simone, ‘Beckett’s Other Trilogy: Not I, Footfalls and Rockaby’ [56]; Jane Alison Hale, ‘Perspective in Rockaby’ [66]; Monique Nagem, ‘Know Happiness: Irony in Ill Seen Ill Said’ [77]; Antoni Libera, ‘Reading That Time’ [91]; Kathleen O’Gorman, ‘The Speech Act in Beckett’s Ohio Impromptu’ [108]; Annamaria Sportelli, ‘“Make sense who may”: A Study of Catastrophe and What Where’ [120]; Hersh Zeifman, ‘Catastrophe and Dramatic Setting’ [129]; Robert Sandarg, ‘A Political Perspective on Catastrophe’ [137]; Phyllis Carey, ‘The Quad Pieces: A Screen for the Unseeable’ [145]; Notes [151]; Bibliography [167]; Notes on Contributors [167]; Notes on the Editors [171-72].

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Lance St. John Butler & Robin J. Davis, eds., Rethinking Beckett: A Collection of Critical Essays (Basingstoke: Macmillan 1990), 207pp. CONTENTS: Notes on the Editors and Contributors [vii]; Steven Connor, ‘“What? where?”: Presence and Repetition in Beckett’s Theatre’ [1]; Angela Moorjani, ‘Beckett’s Devious Deictics’ [20]; Rubin Rabinovitz, ‘Repetition and Underlying Meanings in Samuel Beckett’s Trilogy’ [31]; Kevin J. H. Dettmar, ‘The Figure in Beckett’s Carpet: Molloy and the Assault on Metaphor’ [68]; Barbara Trieloff, “Babel of Silence”: Beckett’s Post-trilogy Prose Articulated’ [89]; Paola Zaccaria, ‘Fizzles by Samuel Beckett: The Failure of the Dream of a Never-ending Verticality’ [105]; Charles Krance, ‘Worstward ho and On-words: Writing To(wards) the Point’ [124]; Ed Jewinski, ‘Beckett’s Company, Post-structuralism, and Mimetalogique’ [141]; Michael E. Mooney, ‘Watt: Samuel Beckett’s Sceptical Fiction’ [160]; Gottfried Büttner, ‘A New Approach to Watt’ [169]; Stephen Barker, ‘Conspicuous Absence: Tracé and Power in Beckett’s Drama’ [181-205].

Enoch Brater & Ruby Cohn, eds.,Around the Absurd: Essays on Modern and Postmodern Drama (Michigan UP 1990), 316pp. CONTENTS: Ruby Cohn, ‘Introduction: Around the Absurd’ [1]; Jan Kott, ‘Dagny and Lulu’ [11]; Katharine Worth, ‘Maeterlinck in the Light of the Absurd’ [19]; Linda Ben-Zvi, ‘O’Neill and Absurdity’ [33]; James Knowlson, ‘Tradition and Innovation in Ionesco’s La Cantatrice Chauve’ [57]; H. Porter Abbott, ‘Late Modernism: Samuel Beckett and the Art of the Oeuvre’ [73]; Charles R. Lyons, ‘Beckett, Shakespeare, and the Making of Theory’ [97]; Benedict Nightingale, ‘Harold Pinter/Politics’ [129]; Bernard F. Dukore, ‘Peter Barnes and the Problem of Goodness’ [155]; Hersh Zeifman, ‘A Trick of the Light: Tom Stoppard’s Hapgood and Postabsurdist Theater’ [175]; Toby Silverman Zinman, ‘Hen in a Foxhouse: The Absurdist Plays of Maria Irene Fornes’ [203]; Rosette C. Lamont, ‘The Internationalization of the Paris Stage’ [221]; Theodore Shank, ‘Framing Actuality: Thirty Years of Experimental Theater, 1959-89’ [239]; Bernard Weiner, ‘The Absurd, To and Fro’ [273]; Herbert Blau, ‘The Oversight of Ceaseless Eyes’ [279]; Enoch Brater, ‘After the Absurd: Rethinking Realism and a Few Other Isms’ [293]; Notes on Contributors [303-06].

Linda Ben-Zvi, ed., Women in Beckett: Performance and Critical Perspectives (Illinois UP 1990), 260pp. CONTENTS: Linda Ben-Zvi, ‘Introduction’ [ix-xviii]; Part 1. [Acting Beckett’s Women] Billie Whitelaw interviewed by Linda Ben-Zvi [3]; Dame Peggy Ashcroft interviewed by Katharine Worth [11]; Madeleine Renaud, Delphine Seyrig, interviewed by Pierre Chabert [15]; Eva Katharina Schultz, ‘Recollections of the Rehearsals for Happy Days with Samuel Beckett [22]; Nancy Illig, [untitled] [24]; Gudren Genest, ‘Memories of Samuel Beckett in the Rehearsals for Endgame, 1967’ [27]; Shivaun O’Casey interviewed by Rosette Lamont [29]; Aideen O’Kelly interviewed by Rosette Lamont [35]; Hanna Marron interviewed by Linda Ben-Zvi [41]; Irena Jun interviewed by Antoni Libera [47]; Brenda Bynum interviewed by Lois Overbeck [51]; Martha Fehsenfeld, [untitled] [55]; Part 2. [Re-acting to Beckett’s Women] Martin Esslin, ‘Patterns of Rejection: Sex and Love in Beckett’s Universe’ [61]; James Acheson, ‘Beckett and the Heresy of Love’ [68]; Kristin Morrison, “Meet in Paradize”: Beckett’s Shavian Women’ [81]; Susan Brienza, ‘Clods, Whores, and Bitches: Misogyny in Beckett’s Early Fiction’ [91]; Rubin Rabinovitz, ‘Stereoscopic or Stereotypic: Characterization in Beckett’s Fiction’ [106]; Carol Helmstetter Cantrell, ‘Cartesian Man and the Woman Reader: A Feminist Approach to Beckett’s Molloy’ [117]; Angela B. Moorjani, ‘The Magna Mater Myth in Beckett’s Fiction: Subtext and Subversion’ [134]; Lawrence Graver, ‘Homage to the Dark Lady: Ill Seen Ill Said’ [142]; Charles R. Lyons, ‘Male or Female Voice: The Significance of the Gender of the Speaker in Beckett’s Late Fiction and Drama’ [150]; Ruby Cohn, ‘The Femme Fatale on Beckett’s Stage’ [162]; Shari Benstock, ‘The Transformational Grammar of Gender in Beckett’s Dramas’ [172]; Peter Gidal, ‘Beckett and Sexuality (Terribly Short Version)’ [187]; Ann Wilson, “Her Lips Moving”: The Castrated Voice of Not I’ [190]; Dina Sherzer, ‘Portrait of a Woman: The Experience of Marginality in Not I’ [201]; Elin Diamond, ‘Speaking Parisian: Beckett and French Feminism’ [208]; Lois Oppenheim, ‘Female Subjectivity in Not I and Rockaby’ [217]; Rosette Lamont, ‘Beckett’s Eh Joe: Lending an Ear to the Anima’ [228]; Katharine Worth, ‘Women in Beckett’s Radio and Television Plays’ [236]; Linda Ben-Zvi, ‘Not I: Through a Tube Starkly’ [243]; Appendix [249]; Notes on Contributors [253-57].

Joseph H. Smith, ed., The World of Samuel Beckett (Baltimore/London: Johns Hopkins UP 1991), 226pp. CONTENTS: Joseph H. Smith, ‘Introduction’ [xv-xxiv] Herbert Blau, ‘Quaquaquaqua: The Babel of Beckett’ [1]; Mary F. Catanzaro, ‘Enough or Too Little?: Voicings of Desire and Discontent in Beckett’s “Enough”’ [16]; Nicholas Zurbrugg, ‘Seven Types of Postmodernity: Several Types of Samuel Beckett’ [30]; Angela Moorjani, ‘A Cryptanalysis of Beckett’s Molloy’ [53]; Robert Winer, ‘The Whole Story’ [73]; John H. Lutterbie, “Tender Mercies”: Subjectivity and Subjection in Samuel Beckett’s Not I’ [86]; Anthony Kubiak, ‘Post Apocalypse without Figures: The Trauma of Theater in Samuel Beckett’ [107]; Stephen Bovering the Néant: Language and the Unconscious in Beckett’ [125]; Bennett Simon, ‘The Fragmented Self, the Reproduction of the Self, and Reproduction in Beckett and in the Theater of the Absurd’ [157]; Jon Erickson, ‘Self-objectification and Preservation in Beckett’s Krapp’s Last Tape’ [181]; Joseph H. Smith, ‘Notes on Krapp, Endgame, and “Applied” Psychoanalysis’ [195]; Martin Esslin, ‘Telling It How It Is: Beckett and the Mass Media’ [204]; Herbert Blau, ‘The Less Said’ [217-19].

S. E. Wilmer, ed., Beckett in Dublin (Dublin: Lilliput Press 1992). CONTENTS: S. E. Wilmer, ‘Introduction’ [1]; James Knowlson, ‘Beckett as Director’ [7]; Jean Maritn, ‘Creating Godot’ [25]; S. E. Gontarski, ‘Working through Beckett’ [33]; Linda Ben-Zvi, ‘Feminine Focus in Beckett’ [55]; Katherine Worth, ‘Beckett’s Ghosts’ [62]; Declan Kiberd, ‘Beckett and the Life to Come’ [75]; Rosemary Poutney, ‘Beckett’s Stagecraft’ [85]; Steven Connor, ‘Over Samuel Beckett’s Dead Body’ [100]; Georges Belmont and John Calder, ‘Remembering Sam’ [111]; Brendan Kennelly, ‘The Four Percenter’ [129]; J. C. C. Mays, ‘Irish Beckett: A Borderline Instance’ [133]; Notes on Contributors [147-48].

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John Pilling & Mary Bryden, eds., The Ideal Core of the Onion: Reading Beckett Archives (Reading: Beckett International Foundation 1992). CONTENTS: John Pilling, ‘Preface’ [v-vii]; Pilling, ‘From a (W)horoscope to Murphy’ [1]; Lionel Kelly, ‘Beckett’s Human Wishes’ [21]; Mary Bryden, ‘Figures of Golgoytha: Beckett’s Pinioned People’ [45]; P. J. Murphy, ‘On First Looking into Beckett’s The Voice’ [63]; Steven Connor, ‘Between Theatre and Theory: Long Observation of the Ray’ [79]; Andrew Renton, ‘Worstward Ho and the End(s) of Representation’ [99]; Paul Davies, ‘Stirrings Still: The Disembodiment of Western Tradition’ [136-51].

S. E. Gontarski, ed., The Beckett Studies Reader (Gainsville: University Press of Florida 1993), 238pp. CONTENTS: S. E. Gontarski, ‘The Journal of Beckett Studies, The First Fifteen Years: An Introduction’ [1]; John Pilling, ‘Beckett’s Proust’ [9]; S. E. Gontarski, “Birth Astride of a Grave”: Samuel Beckett’s Act Without Words I’ [29]; Jeri L. Kroll, ‘Belacqua as Artist and Lover: “What a Misfortune”’ [35]; Thomas J. Cousineau, ‘Watt: Language as Interdiction and Consolation’ [64]; James Acheson, ‘Murphy’s Metaphysics’ [78]; : The Imagination and its Context’ [146]; Heath Lees, ‘Watt: Music, Tuning and Tonality’ [167]; Anne C. Murch, ‘Quoting from Godot: Trends in Contemporary French Theater’ [186]; James Hansford, “Imaginative Transactions” in “La Falaise”’ [203]; Ileana Marcoulesco, ‘Beckett and the Temptation of Solipsism’ [214]; Bibliography of Books, Portions of Which First Appeared in the Journal of Beckett Studies [227]; Notes on Contributors [229-30].

Enoch Brater, ed., The Theatrical Gamut: Notes for a Post-Beckettian Stage (Ann Arbor: University of Michigan 1995), 304pp. CONTENTS: Enoch Brater, ‘Preface’ [ix-xi]; John Russell Brown, ‘Back to Bali’ [1]; Bernard Dort, ‘Training the French Actor: From Exercise to Experiment’ [21]; Antonia Rodriguez-Gago, ‘Molly’s “Happy Nights” and Winnie’s “Happy Days”’ [29]; Martin Esslin, ‘Beckett’s German Context’ [41]; Yasunari Takahashi, ‘Memory Inscribed in the Body: Krapp’s Last Tape and the Noh Play Izutsu’ [51]; Carla Locatelli, ‘Delogocentering Silence: Beckett’s Ultimate Unwording’ [67]; H. Porter Abbott, ‘Consorting with Spirits: The Arcane Craft of Beckett’s Later Drama’ [91]; Hersh Zeifman, ‘All my Sons after the Fall: Arthur Miller and Rage for Order’ [107]; Elin Diamond, “The Garden is a Mess”: Maternal Space in Bowles, Glaspell, Robins’ [121]; John Orr, ‘Paranoia and Celebrity in American Dramatic Writing: 1970-90’ [141]; Bill Coco, ‘The Dramaturgy of the Dream Play: Monologues by Breuer, Chaikin, Shepard’ [159]; Gerry McCarthy, “Codes from a Mixed-up Machine”: The Disintegrating Actor in Beckett, Shepard, and Surprisingly, Shakespeare [171]; Linda Ben-Zvi, “Aroun the Worl”: The Signifyin(g) Theater of Suzan-Lori Parks [189]; Janelle Reinelt, ‘Is the English Epic Over?’ [209]; Sue-Ellen Case, Acting out the State Agenda: Berlin, 1993’ [223]; Jin Eigo, ‘Sitelines: A Ground for Theater’ [255]; Herbert Blau, ‘Afterthought from the Vanishing Point: Theater at the End of Real’ [279]; Joseph Chaikin, ‘Afterword’ [299]; Notes on Contributors [301-04].

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Mary Junker, Beckett: The Irish Dimension (Dublin: Wolfhound 1995), 199pp. CHAPS: Understanding Beckett; [Beckett’s Literary and Cultural Heritage]; The Joycean Influence; The Irish literary Tradition; The French Literary Tradition; His Protestant Heritage; [The Irish Dimension in the Five Selected Plays] Location; Evocation; Language; personal mythology; poetic diction; meaning and mutability; [Waiting for Godot] Production and Reception; Location; Evocation; Language; arcane language; Irish language; Hiberno-English; [The Text and the Technique; Godot: the mystery and the mirage; The word Godot is made flesh; the flesh is made word; [All That Fall] Location; Evocation; The gentility syndrome; Language; [Krapp’s Last Tape] Synopsis; Productions and Reception .... [Eh Joe] [That Time] Conclusion. [see extracts, in RICORSO Library > Criticism > Major Writers, infra.]

Lois Oppenheim, ed., Directing Beckett (Ann Arbor: University of Michegan Press 1994). CONTENTS: Lois Oppenheim, ‘Introduction’ [1]; Alan Schneider, ‘Alan Schneider Directs Rockaby’ [transcript of extracts from audiotape] [13]; Part 1. Lois Oppenheim, ‘Introduction to Interviews’ [21]; all interviews with Lois Oppenheim; ‘Frederick Neumann’ [25]; ‘Walter Asmus’ [40]; ‘Herbert Blau’ [48]; ‘Pierre Chabert’ [66]; ‘Edward Albee’ [80]; ‘Jan Jönson’ [92]; ‘Antoni Libera’ [101]; ‘Joseph Chaikin’ [124]; ‘Gregory Mosher’ [131]; ‘JoAnne Akalaitis’ [135]; Part 2. Lois Oppenheim, ‘Introduction to Essays’ [141]; Robert Scanlan, ‘Performing Voices: Notes from Stagings of Beckett’s Work’ [145]; Gildas Bourdet, ‘ Fizzle’ [155]; Carey Perloff, ‘Three Women and a Mound: Directing Happy Days’ [161]; Xerxes Mehta, ‘Ghosts’ [170]; Everett C. Frost, ‘A “Fresh Go” for the Skull: Directing All That Fall, Samuel Beckett’s Play for Radio’ [186]; Colin Duckworth, ‘Directing Beckett “Down Under”’ [220]; Ilan Ronen, ‘Waiting for Godot as Political Theatre’ [239]; Gerry McCarthy, ‘Emptying the Theatre: on Directing the Plays of Samuel Beckett’ [250]; Eve Adamson, ‘Beckett in Repertory’ [268]; Robert McNamara, ‘on Directing Beckett: In and Out of Ireland’ [277]; Part 3. [Appendixes], 1. Letters from Samuel Beckett to Roger Blin [295]; 2. Interview with Roger Blin by Joan Stevens [301]; 3. “On Play and Other Plays”: Lecture by Alan Schneider [315]; Notes on contributors [319-20].

Lois Oppenheim & Marius Buning, eds., Beckett On and On ... [Further papers of 2nd International Samuel Beckett Conference, Hague, April 1992] (London: Associated UP 1996), 259pp. CONTENTS: Lois Oppenheim, ‘Introduction’ [7]; Part. 1. Leslie Hill, ‘Gender and Genre: “Fuck life”: Rockaby, Sex, and the Body’ [19]; Andreas Bjørnerud, ‘Beckett’s Model of Masculinity: Male Hysteria in Not I’ [27]; Mary Bryden, ‘Gender in Beckett’s Music Machine’ [36]; Johanneke Van Slooten, ‘Beckett’s Irish Rhythm Embodied in His Polyphony’ [44]; John Pilling, ‘A Short Statement with Long Shadows: Watt’s Arsene and His Kind(s)’ [61]; Frank Matton, ‘Beckett’s Trilogy and the Limits of Autobiography’ [69]; Angela Moorjani, ‘Mourning, Schopenhauer, and Beckett’s Art of Shadows’ [83]; Wanda Balzano, ‘Re-mythologizing Beckett: The Metaphors of Metafiction in How It Is’ [102]; Elizabeth Klaver, ‘Entering Beckett’s Postmodern Space’ [111]; Part. 2. Carla Locatelli, ‘Textuality and Theatricality: “My Life Natural Order More or Less in the Present More or Less”: Textual Immanence as the Textual Impossible in Beckett’s Works’ [127]; Gerry McCarthy, ‘Rehearsals for the End of Time: Indeterminacy and Performance in Beckett’ [147]; Robert Scanlan, ‘The Proper Handling of Beckett’s Plays’ [160]; David J. Gordon, ‘Au Contraire: The Question of Beckett’s Bilingual Text’ [164]; Harry Vandervlist, “A Voice from Elsewhere”: Impossible Survivals and the Annihilating Power of Language in Beckett’s Fiction’ [178]; Dorothee Ostmeier, ‘Dramatizing Silence: Beckett’s Shorter Plays’ [187]; Li-Ling Tseng, ‘Undoing and Doing: Allegories of Writing in the Trilogy’ [199]; Kirill O. Thompson, ‘Beckett’s Dramatic Vision and Classical Taoism’ [212]; Mariko Hori Tanaka, ‘Special Features of Beckett Performances in Japan’ [226]; Hersh Zeifman, ‘The Syntax of Closure: Beckett’s Late Drama’ [240]; Notes on Contributors [255-59].

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Bruce Stewart, ed., Beckett and Beyond [Princess Grace Irish Library Series No. 9] (Gerrards Cross: Colin Smythe 1999), 318pp. CONTENTS: Bruce Stewart, ‘Introduction’ [I]; Tadhg O’Sulllivan, ‘Opening Address’ [ii]; Antony Cronin, ‘Opening [vi]; Edward Beckett, ‘Opening Address’ [vii]; Hersh Zeifman, ‘Opening Address’ [viii]; James Acheson, ‘Beckett’s Film, Berkeley, and Schopenhauer’ [1]; Linda Ben-Zvi, ‘Feminine Focus in Beckett’ [10]; Normand Berlin, ‘Beyond Beckett = Before Beckett’ [16]; Enoch Brater, ‘Acts of Enunciation in All That Fall’ [23]; Marius Buning, ‘The Play of Negativity in the Beckettian Text’ [32]; Lance St John Butler, ‘Samuel Beckett’s End, or The Future Perfect’ [41]; Gottfried Büttner, ‘Samuel Beckett Looked at as a Modern Initiate’ [42]; Genèvieve Chevalier, ‘Pacing Absence: Beckett’s Characters as Quantity Surveyors in Insignificance’ [53]; Ruby Cohn, ‘An Abstract’ [61]; Thomas Cousineau, ‘Beneath Representation: On Staging Beckett’s Plays Anti-Œdipal Tendencies in the Trilogy’ [70]; Kevin Dettmar, ‘The Joyce that Beckett Built’ [78]; Colin Duckworth, ‘Beckett’s Theatre: Beyond the Stage Space’ [93]; Colin Duckworth, Murphy’s Return’ [102]; Martha Fehsenfeld and Lois More Overbeck, ‘The Correspondence of Samuel Beckett: Windows on the Work’ [103]; Jack E. Frish, ‘Beckett and Havel: A Personification of Silence’ [115]; Peter Gidal, ‘Sexlessness & Meaninglessness in Time in Beckett’ [127]; Stanley E. Gontarski, ‘A Hat Is Not a Shoe: The Theatrical Notebooks of Samuel Beckett and Postmodernist Theories of Texts and Textuality’ [129]; Barbara Hardy, ‘Samuel Beckett: Adapting Objects & and Adapting to Objects’ [145]; Marek Kedzierski, ‘The Space of Absence: Image and Voice in Beckett’s Later Plays’ [155]; Andrew Kennedy, ‘No Beyond ‘All to End’ ’ [163]; Adele King, ‘Camus and Beckett: Against Patriarchy, ‘L’Etranger, ‘Molloy & En Attendant Godot’ [169]; James Knowlson, “My Texts are in a Terrible Mess”’ [176]; Charles Krance, ‘French for Company’ [187]; Carla Locatelli, ‘Samuel Beckett’s Obligation to Express’: From a Mythology of Demystification to the Utterance of Better Failures’ [193]; Barry McGovern, ‘Well, ‘Well, so There’s an Audience in the Plays of Samuel Beckett’ [205]; John Pilling, ‘A Mermaid Made Over: Beckett’s “Text” and John Ford’ [211]; Giuseppina Restivo, ‘Caliban/Clov and Leopardi’s Boy: Beckett and Postmodernism’ [217]; Antonia Rodriguez-Gago, ‘Beckett’s Voices in Spanish: Translation as an Aspect of Adaptation’ [231]; Annamaria Sportelli, ‘Beyond the Absurd’ [239]; Aldo Tagliaferri, ‘Ill Seen Ill Said: A Sacrificial Workshop’ [246]; Katherine Worth, ‘Protean Beckett: Adaptations and Extensions’ [255]; Hersh Zeifman, ‘From That Time to No Time: Closure in Beckett’s Drama’ [260]; Appendix One: The Conference Programme’ [268]; Appendix Two: A List of Participants’ [270-71].

Anthony Uhlmann, Beckett and Poststructuralism (Cambridge UP 1999), x, 202pp. CONTENTS: Acknowledgements; Introduction; 1. Molloy, surveillance and secrets: Beckett and Foucault; 2. Perception and apprehension: Bergson, Foucault, Deleuze and Guattari and Beckett; 3. Crisis with the moral order in post World War Two France; 4. Towards an ethics: Spinoza, Deleuze and Guattari and Beckett; 5. Voices and stories: the translator and the leader; 6. Language, between violence and justice: Beckett, Levinas and Derrida; Conclusion; List of references; Index.

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Paul Davies, Beckett and Eros: Death of Humanism (London: Macmillan; NY: St Martin’s Press 2000), ix, 239pp. CONTENTS: Acknowledgements Preface. Part I: WOMB OF THE GREAT MOTHER EMPTINESS: Mythopoetics; Contexts for Beckett Beckett and Eros: Mentioning the Unmentionable; Mythographic Reading; Elysium of the Roofless; Beckett, the Heart Sutra, and dzogchen Complete Being. Part II: THE DARK STREAM: Beckett’s Mythologies of Eros; What it is; Their Humanity; Stifles (Eleutheria, The Unnamable, Texts For Nothing) After the Second Crisis: Entering the Cylinder (How It Is, Imagination Dead Imagine, Words and Music) Krapp’s Tapes and the Myth of Recurrence (Krapp’s Last Tape) Mrs Rooney at the Mouth of Creation (All that Fall) Care and Punish (Roughs for Theatre and Radio, As The Story Was Told) Madness of the Norm (Not I, That Time, Footfalls); Open Sky Mind (Cascando, Nohow On, Stirrings Still); That Unheeded Neither (neither). Notes; Bibliography; Index.

Jennifer Birkett & Ruth Ince, eds., Samuel Beckett (London: Routledge 2000), xi, 291pp. CONTENTS: Introduction: International Beckett; theory in translation; Categorical criticism; Beckett between modernity and postmodernity. Part 1: Political Criticism: Theodor Adorno, ‘Trying to understand Endgame’; Stephen Watt, ‘Beckett by way of Baudrillard - toward a political reading of Samuel Beckett’s drama’; Patricia Coughlan, ‘“The Poetry is Another Pair of Sleeves” - Beckett, Ireland and modernist lyric poetry’. Part 2 - Literature and Philosophy: Maurice Blanchot, ‘Molloy’s silence, Georges Bataille; where now? who now?’; Leslie Hill, ‘the trilogy translated’. Part 3 - Deconstruction: voice and mechanical reproduction - Steven Connor, ‘Krapp’s Last Tape, Ohio Impromptu, Rockaby, That Time’; Thomas Trezise, ‘Dispossession’. Part 4 - Psychoanalytic Criticism: David Watson, ‘Desiring-production - the Schizo’s stroll, Gilles Deleuze and Felix Guattari; the fictional body - Le Depeupleur, Bing, Imagination morte imaginez’. Part 5 - Reader Reception: Wolfgang Iser, ‘The art of failure - the stifled laugh in Beckett’s theatre’. Part 6 - Semiotics: Carla Locatelli, ‘Comic strategies in Beckett’s narratives’. Part 7 - Feminism/gender: Julia Kristeva, ‘The father, love and banishment’; Linda Ben-Zvi, ‘Not I - through a tube starkly’.

Marius Buning, Matthijs Engelberts, & Onno Kosters, eds., Beckett and Religion: Beckett / Aesthetics / Politics // Beckett et la religion: Beckett/l’esthétique/la politique [Samuel Beckett today/aujourd’hui ser., No. 9, ‘beings sel. papers of Conferences at Stirling, 1999 [dir. Mary Bryden & Lance Butler] and Sussex, 1997 [dir. Peter Boxall] (Amsterdam : Rodopi 2000), 331pp. [23 cm.] Marius Buning Introduction, [9] / Avant-propos [11]. Pt. 1: Beckett and Religion: 1. Mary Bryden and Lance Butler, Introduction. Sect. 1 - The Performative: 2. Shimon Levy, ‘On and Offstage: Spiritual Performances in Beckett’s Drama’ [17]; 3. Junko Matoba, ‘Religious Overtones in the Darkened Area of Beckett’s Later short Play’ [31]. Sect. II - Christian Tradition and Devotional Writing: 4. Marius Buning, ‘The “Via Negativas” and its first stirrings in Eleutheria, ‘[43]; 5. Birgitta Johannsson, ‘Beckett and the Apophatic in Selected Shorter Texts’ [55]; 6. Garin Dowd, ‘Figuring Zero in the Lost Ones’ [67]; 7. Chris Ackerley, ‘Samuel Becektt and Thomas à Kempis: The Root of Quietism’ [81]. Sect. III: - Incarnation, The Word-Made-Flesh: 8. Derval Tubridy, ‘Words Pronouncing me Alice: Beckett and Incarnation’ [93]; 9. Jane Walling, ‘“Dim Whence Unknown”: Beckett and the Inner Logos’ [105]; 10. Paul Davies, ‘“Womb of the Great Mother Emptiness”: Beckett, ‘the Buddha and the Goddess’ [119]. Sect. IV: Witness the Relationship. 11. Colin Duckworth, ‘Becket and the Missing Sharer’ [133]. 12. Joseph Long, ‘Divine Intertextuality: Beckett, Company, Le Dépeupler’ [145]. 13. Daniela Caselli, ‘“God that Old Favourite”: Issues of Authority in How it Is’ [159]; 14. Elizabther Barry, ‘“Faith Cometh by Hearing, ‘and Hearing by the Word of God”: The Status of Beckett’s Religious Language’ [173]. Sect. V: Non-Conference Participants: 15. David Houston Jones, ‘Que Foutait Dieu’ [185]; 16. Paul Sardin, ‘Beckett et la religion au travers du prisme de quelques textes courts autotraduits’ [199]. Pt. 2: Beckett/Aesthetics/Politics. 17. Peter Boxall, Introduction to Beckett/Aesthetics/Politics’ [207]; 18. Leslie Hill, ‘Beckett, Writing, Politics: Answering for Myself’ [215]; 19. Sinead Mooney, ‘“Integrity in a surplice”: Beckett (Post-)Protestant Poetics’ [223]; 20. Nicky Marsh, ‘“All Known - Never Seen”: Susan Howe, ‘Samuel Beckett and an Indeterminate Tradition’ [239]; 21. Tyrus Miller, ‘Beckett’s Political Technology: Expression, Confession, and Torture in the Later Drama’ [255]; 22. Drew Milne, ‘Attaching the World’s Portadownians: Beckett’s Early Politics’ [279]. Pt. 3: Free Space: 23. Catherine Laws, ‘The Double Image of Music in Beckett’s Early Fiction’ [295]; 24. Julian Garforth, ‘“Beckett, ‘Unser Hausheiliger?”: Changing Critical Reactions to Beckett’s Directorial Work in Berlin’ [309]. (Available at Google Books [in part] - online.

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Daniel Albright, Beckett and Aesthetics (Cambridge UP 2003), vii, 179pp., ill. CHAPTERS: Music examples; Introduction: Beckett and surrealism; 1. Stage: resisting failure; 2. Tape recorder, radio, film, television: resisting the human image; 3. Music: losing the will to resist.

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S. E. Gontarski & Anthony Uhlmann, eds., Beckett after Beckett (Florida UP 2006), 227pp.: CONTENT - Afterimages: introducing Beckett’s ghosts. PART I - BECKETT AND THEORY: Beckett, ‘Letter to Georges Duthuit, 9-10 March 1949’; Herbert Blau, ‘“The Commodius Vicus” of Beckett: vicissitudes of the arts in the science of affliction’; Luce Irigaray, ‘The path toward the other’; Steven Connor, ‘Beckett’s atmospheres Paul Davies, ‘Strange weather: Beckett from the perspective of ecocriticism’; Anthony Uhlmann, ‘Samuel Beckett and the occluded image’; Stephen Barker, ‘Qu’est-ce que c’est d’après in Beckettian time’; Bruno Clément, ‘What the philosophers do with Samuel Beckett. PART II - BECKETT AND PRAXIS: Gontarski, ‘Greying the canon: Beckett in performance’; John Pilling, ‘Beckett and Mauthner revisited’; C. J. Ackerley, ‘Degeneration, Sausage poisoning, The bloody Rafflesia, Coenaesthesis, and the Not-I, Samuel Beckett and Max Nordau’; Paul Sheehan, ‘Births for nothing: Beckett’s ontology of parturition’; Jane R. Goodall, ‘Lucky’s energy’; Wai Chee Dimock, ‘Weird conjunction: “Dante and the lobster”’; David Hayman, ‘How two love letters elicited a singular third person: generating a Watt’.

Anthony Uhlmann, Samuel Beckett and the Philosophical Image (Cambridge UP 2006), viii, 191pp. CONTENTS: Introduction; 1. Representation and presentation: Deleuze, Bergson, Peirce and ‘the image’; 2. Beckett’s aesthetic writings and ‘the image’; 3. Relation and non-relation; 4. The philosophical imaginary; 5. Cogito Nescio; 6. Beckett, Berkeley, Bergson, film: the intuition image; 7. The ancient Stoics and the ontological image; Conclusion; Works cited. [Available at Google Books - online; see sample page - as attached.]

Eric P. Levy, Trapped in Thought: A Study of the Beckettian Mentality (NY: Syracuse University Press 2007), x, 248pp. Chapters: The Beckettian Mimesis of Pain; The Beckettian Mimesis of Seeing Nothing; The Beckettian Mimesis of Absence; Living without a Life: the Disintegration of the Christian-humanist Synthesis in Molloy; Malone Dies and the Beckettian Mimesis of Inexistence; The Unnamable: The Metaphysics of the Beckettian Introspection; False Innocence in Waiting for Godot; To Be Is to be Deceived: The Relation of Berkeley and Plato to Waiting for Godot; Disintegrative Process in Endgame; Krapp’s last tape and the Beckettian Mimesis of Regret; Conclusion: The Beckettian Absolute Universal.

Emilie Morin, Samuel Beckett and the Problem of Irishness (London: Palgrave Macmillan 2009), xii, 224pp. CHAPS.: Preface; ‘Acknowledgements’ ‘Introduction’; ‘Beckett and the Irish Literary Revival’ ‘Translation as Principle of Composition’; ‘Representing Scarcity’; ‘Writing Disappearance’; Conclusion; List of abbreviations and notations; Notes; Bibliography; Index. [prev. as “Bodies on Samuel Beckett’s Fiction and Drama: The Problem of Irishness in the Works of Samuel Beckett”, QUB PhD. 2006.]

Kathryn White, Beckett and Decay (London: Continuum 2009), ix, 197pp. CHAPS.: ‘Physical decay. The body infirm ; ‘Old age: The Dictatorship of Time ; ‘The Decaying Landscape’; ‘Moribund Man: Beckett and Death’. Mental decline and spiritual attrition. ‘The Trap of Memory; ‘Tired Minds; ‘Perceptions of Insanity; ‘“I can’t go on, I’ll go on”: The Ebbing Spirit’. Death of the Word. ‘Minimalism and Reductionism: Advancing Towards Lessness’; ‘Dramaticules’; The Miniaturist of the Word: The Shorter Prose’; ‘Voices, Ghosts, Silence: Into Nothingness’. [prev. as “Representations of decay in the works of Samuel Beckett”, PhD diss., University of Ulster [Jord], 2005].

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Stephen Watt, Beckett and Contemporary Irish Writing (Cambridge UP 2009), viii, 226pp. CONTENTS - Introduction: Beckett, our contemporary; 1. Beckett and the ‘Beckettian’; 2. The Northern Ireland ‘Troubles’ play and Brian Friel’s Beckettian Turn; 3. Bernard MacLaverty: The ‘Troubles’, Late Modernism, and the Beckettian; 4. ‘Getting Round’ Beckett: Derek Mahon and Paul Muldoon; 5. Specters of Beckett: Marina Carr and the ‘Other Sam’; Coda: On Retrofitting: Samuel Beckett, Tourist Attraction.

Dirk Van Hulle & Mark Nixon, ed., Beckett and Germany [Journal of Beckett Studies, Vol. 9, No. 1] (Edinburgh University Press 2010): Mark Nixon & Dirk Van Hulle, Introduction [151-53]; Dossier: AdornO’s Notes on Beckett: Theodor W. Adorno, Notes on Beckett [157-78]; Shane Weller, Adorno’s Notes on The Unnamable [179-95]; Dirk Van Hulle, Adorno’s Notes on Endgame [196-217]. Essays: Gaby Hartel, ‘Emerging Out of a Silent Void: Some Reverberations of Rudolf Arnheim’s Radio Theory in Beckett’s Radio Pieces’ [218-27]; Tine Koch, ‘Searching for the Blue Flower: Friedrich Schlegel’s and Samuel Beckett’s ‘Unending Pursuits’ of ‘Infinite Fulfilment’ [228-44]; Mark Nixon, Chronology of Beckett’s Journey to Germany 1936-1937 (based on the German Diaries) [245-72]. Reviews, &c. [Pages as per vol.]

Dirk Van Hulle, ed., The New Cambridge Companion to Samuel Beckett (Cambridge University Press 2015) - CONTENTS: 1. John Pilling, Early Beckett: ‘the one looking through his fingers’; 2. Angela Moorjani, Molloy, Malone Dies, The Unnamable: the novel reshaped; 3. Peter Boxall, Still stirrings: Beckett’s prose from Texts for Nothing to ‘Stirrings Still’; 4. Rónán McDonald, Waiting for Godot and Beckett’s cultural impact; 5. Emilie Morin, Endgame and shorter plays: religious, political and other readings; 6. Mark Nixon, Ruptures of the visual: Beckett as critic and poet; 7. Shane Weller, Beckett and late modernism; 8. Anthony Uhlmann, Beckett’s intertexts; 9. Sam Slote, Bilingual Beckett: beyond the linguistic turn; 10. S.E. Gontarski, Samuel Beckett and the 'idea' of theatre: performance through Artaud and Deleuze; 11. Peter Fifield, Samuel Beckett with, in and around philosophy; 12. Jean-Michael Rabate, Love and lobsters: Beckett’s meta-ethics; 13. Ulrika Maude, Beckett, body and mind; 14. Seán Kennedy, ‘Humanity in ruins’: Beckett and history.

Anthony Uhlmann, ed., Samuel Beckett in Context (Cambridge UP 2013), pp.456 CONTENTS: Introduction [1]; Pt I. Landscape and Formation: Russell Smith, ‘Childhood and Portora’ [7]; John Pilling, ‘Dublin and Environs’; S. E. Gontarski, ‘Trinity College, Dublin’; Anthony Cordingley, ‘École Normale Supérieure’; Jean-Michel Rabaté, 'Paris, Roussillon, Ussy’. Pt. II. Social & Political Contexts: Patrick Bixby, ‘Ireland: 1906-1945’ [65], Garin Dowd, ‘France: 1928-1939’, Peter Marks, ‘England: 1933-1936’, Mark Nixon, ‘Germany: Circa 1936-1937’, Julian Murphet, ‘France, Europe, the World: 1945-1989, Pt. III. Milieus and Movements: Paul Sheehan, ‘Modernism: Dublin / Paris /London’ [139]; Sam Slote, ‘The Joyce Circle’; Shane Weller, ‘Post-World War Two Paris ‘; Uhlmann, ‘Staging Playus’; Ulrike Maude, ‘Working on Radio’; Graley Herren, ‘Working on Film and Television’; Pt. IV. The Humanities I Had: Literature: Seán Kennedy, ‘Irish Literature’ [205]; Mark Byron, ‘English Literature’; Angela Moorjani, ‘French Literature’; Daniela Casellim ‘Italian Literature’. Pt. V. The Humanities I Had: Arts: Nico Israel, ‘Contemporary Visual Art’; Catherine Laws, ‘Music’; Matthijs Engelberts ‘Cinema’; Jane Goodall, ‘Popular Culture’. Pt. VI: The Humanities I Had - Belief: Matthew Feldman, ‘Philosophy’ [301]; Laura Salisbury, ''Psychology’; Chris Ackerley, ‘The Bible’; Minako Okamuro, ‘The Occult’; Hugh Culik, ‘Science and Mathematics’. Pt. VI. Language & Form: Daniel Katz, ‘Language and Representation’ [361]; Corinne Scheiner, ‘Self-Translation’; Enoch Brater, ‘Theatre Forms’. Pt. VIII. Reception and Remains, T Gourley, ‘’Iinitial Reception’ [397]; Michael D'Arcy, ‘Influence’; Dirk van Hulle, ‘Notebooks and Other Manuscripts’; Lois Overbeck, ‘Letters’. Index [441] (See Front Pages incl. TOC, Contribs., Acknowls., and Chronology [chiefly of publications - available online at Cambridge UP - online; accessed 26.05.2021].

James Little, Making a Confinement: The Politics of Closed Space [Historicizing Modernism] (London: Bloomsbury 2021), 256pp. CONTENTS: Acknowledgements - Abbreviations - List of Illustrations - Notes on the Text. Introduction: Beckett’s Spatial Politics. 1: Images of Confinement: Proust, Dream of Fair to Middling Women; 2: The Ethics of Writing Confinement: “Dante and the Lobster”, “Fingal”, Murphy; 3: ‘Vaguening’ Confinement: Watt; 4: ‘Undoing’ Confinement: “The End”, “The Expelled”, Molloy, Malone Dies; 5: Political Pentimenti: Waiting for Godot, Endgame; 6: Learning to Say ‘Not I’: The Unnamable; 7: Redoing Not I in “Non-A”; 8: ‘The Limits of Interpretation’: Imagination Dead Imagine, All Strange Away; 9: The ‘Anethics’ of Staging Confinement: “Mongrel Mime”, Catastrophe. Conclusion: ‘Mongrel’ Space. Works Cited.

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