The first study to assess the importance of the marginalia, inscriptions, and other manuscript notes in the 750 volumes of Samuel Beckett's personal library.

Murphy, Samuel Beckett’s first published novel, is set in London and Dublin, during the first decades of the Irish Republic. The title character loves Celia in a “striking case of love requited” but must first establish himself in London before his intended bride will make the journey from Ireland to join him. Beckett comically describes the various schemes that Murphy employs to stretch his meager resources and the pastimes that he uses to fill the hours of his days. Eventually Murphy lands a job as a nurse at Magdalen Mental Mercyseat hospital, where he is drawn into the mad world of the patients which ends in a fateful game of chess. While grounded in the comedy and absurdity of much of daily life, Beckett’s work is also an early exploration of themes that recur throughout his entire body of work including sanity and insanity and the very meaning of life.

This work relates the adventures of an unnamed narrator crawling through the mud while dragging a sack of canned food. It is written as a sequence of unpunctuated paragraphs divided into three sections.

In the 1930s, a young Samuel Beckett confessed to a friend that he had been living his life according to an ‘abject self-referring quietism’. Andy Wimbush argues that ‘quietism’—a philosophical and religious attitude of renunciation and will-lessness—is a key to understanding Beckett’s artistic vision and the development of his career as a fiction writer from his early novels Dream of Fair to Middling Women and Murphy to late short prose texts such as Stirrings Still and Company. Using Beckett’s published and archival material, Still: Samuel Beckett’s Quietism shows how Beckett distilled an understanding of quietism from the work of Arthur Schopenhauer, E.M. Cioran, Thomas à Kempis, Fyodor Dostoevsky, and André Gide, before turning it into an aesthetic that would liberate him from the powerful literary traditions of nineteenth-century realism and early twentieth-century high modernism. Quietism, argues Andy Wimbush, was for Beckett a lifelong preoccupation that shaped his perspectives on art, relationships, ethics, and even notions of salvation. But most of all it showed Beckett a way to renounce authorial power and write from a position of impotence, ignorance, and incoherence so as to produce a new kind of fiction that had, in Molloy’s words, the ‘tranquility of decomposition’.

Theatre on Trial is the first full-length analysis of Samuel Beckett's later drama in the context of contemporary theatre. Audrey McMullan employs a close, textual examination of the later plays as a springboard for exploring ideas around authority, voyeurism, gender and the ideology of stage and TV space. Her application of deconstruction and psychoanalytic feminism to Beckett's work will break new and exciting ground.

This study, while surveying all of Samuel Beckett's major fiction, focuses on the work that he regarded as his masterpiece: the trilogy of novels Molloy, Malone Dies, and The Unnamable. It analyzes the ways in which Beckett, as he moves from one novel to the next, demystifies each of the principal idols to which human beings have looked for protection and guidance in the successive phases of their history. In part one of Molloy this role is assumed by the figure of the mother and the various women who minister to Molloy's needs in the course of his journey. In part two, these maternal figures are replaced by Youdi and other male authority figures, including Father Ambrose, who embody the rule of paternal law. In Malone Dies, we enter the period of modern individualism, in which, freed from dependence upon the parental figures that had dominated Molloy, Malone ("man alone") looks vainly to himself for the guidance that they had formerly provided.

_______________ '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.