Given that the Nobel Prize-winning author Samuel Beckett (1906-1989) was personally acquainted with the modernist master James Joyce, and even helped research and promote Finnegans Wake, it should come as no surprise that Beckett was greatly influenced by Joyce's own work. However, much analysis of Beckett's work tends to argue that he forged his own artistic identity in opposition to Joyce, seeking and eventually finding styles and methods unoccupied by his "mentor." Beckett's Dedalus is a comprehensive reassessment of this line of criticism and traces the nature and extent of Joyce's influence in more complex, contestatory, and complementary ways throughout all of Beckett's major fiction. Paying close attention to the extensive network of allusions Beckett derived from Joyce's writing, P.J. Murphy reveals how Beckett consistently echoed and engaged in dialogue with Joyce's works, especially A Portrait of the Artist as a Young Man and, in particular, its protagonist Stephen Dedalus. This study proposes that the relationship between the two writers was a complex life-giving and art-building dialogue concerned with aesthetic theories, depictions of reality, and the artistic integrity needed to carry out these critical investigations. emBeckett's Dedalus is a fascinating study of the literary influence one generation has on the next. It will change the way we consider the relationship between two of the greatest writers of the twentieth century.

Surreal Beckett situates Beckett‘s writings within the context of James Joyce and Surrealism, distinguishing ways in which Beckett forged his own unique path, sometimes in accord with, sometimes at odds with, these two powerful predecessors. Beckett was so deeply enmeshed in Joyce’s circle during his early Paris days (1928 - late 1930s) that James Knowlson dubbed them his "Joyce years." But Surrealism and Surrealists rivaled Joyce for Beckett’s early and continuing attention, if not affection, so that Raymond Federman called 1929-45 Beckett’s "surrealist period." Considering both claims, this volume delves deeper into each argument by obscuring the boundaries between theses differentiating studies. These received wisdoms largely maintain that Beckett’s Joycean connection and influence developed a negative impact in his early works, and that Beckett only found his voice when he broke the connection after Joyce’s death. Beckett came to accept his own inner darkness as his subject matter, writing in French and using a first-person narrative voice in his fiction and competing personal voices in his plays. Critics have mainly viewed Beckett’s Surrealist connections as roughly co-terminus with Joycean ones, and ultimately of little enduring consequence. Surreal Beckett argues that both early influences went much deeper for Beckett as he made his own unique way forward, transforming them, particularly Surrealist ones, into resources that he drew upon his entire career. Ultimately, Beckett endowed his characters with resources sufficient to transcend limitations their surreal circumstances imposed upon them.

Samuel Beckett and the Politics of Aftermath explores Beckett's literary responses to the political maelstroms of his formative and middle years: the Irish civil war and the crisis of commitment in 1930s Europe, the rise of fascism and the atrocities of World War II. Archive yields a Beckett who monitored propaganda in speeches and newspapers, and whose creative work engages with specific political strategies, rhetoric, and events. Finally, Beckett's political aesthetic sharpens into focus. Deep within form, Beckett models ominous historical developments as surely as he satirizes artistic and philosophical interpretations that overlook them. He burdens aesthetic production with guilt: imagination and language, theater and narrative, all parallel political techniques. Beckett comically embodies conservative religious and political doctrines; he plays Irish colonial history against contemporary European horrors; he examines aesthetic complicity in effecting atrocity and covering it up. This book offers insightful, original, and vivid readings of Beckett's work up to Three Novels and Endgame.

What do Bono, Seinfeld and Apple have in common? Nothing. However, it's the nothing of Samuel Beckett, which is something. Bold and provocative, Beckett's works and even his image are a potent force in modern society. Shoes, marketing, baby names--all fall under his spell. This collection of new essays (one exception) finds him incorporated into virtually all aspects of popular culture--television, popular fiction, movies, tattoos, even sports--in a manner that seems to defy classifying. Is it image-making or image-taking? Why is our culture so obsessed with an obscure Irish writer most people have not read? Each essay provides a unique appraisal of Beckett's branding.

Beckett’s Late Stage reexamines the Nobel laureate’s post-war prose and drama in the light of contemporary trauma theory. Through a series of sustained close-readings, the study demonstrates how the comings and goings of Beckett’s prose unsettles the Western philosophical tradition; it reveals how Beckett’s live theatrical productions are haunted by the rehearsal of traumatic repetition, and asks what his ghostly radio recordings might signal for twentieth-century modernity. Drawing from psychoanalytic and poststructuralist traditions, Beckett’s Late Stage explores how the traumatic symptom allows us to rethink the relationship between language, meaning, and identity after 1945.

A collection of original essays by a team of leading Beckett scholars and two of his biographers, Companion to Samuel Beckett provides a comprehensive critical reappraisal of the literary works of Samuel Beckett. Builds on the resurgence of international Beckett scholarship since the centenary of his birth, and reflects the wealth of newly released archival sources Informed by the latest in scholarly, critical, and theoretical debates A valuable addition to contemporary Beckett scholarship, and testament to the enduring influence of Beckett’s work and his position as one of the most important literary figures of our time