"In the first part of this book, Beckett, a notably reclusive man, talks candidly with his official biographer, James Knowlson, about his family, his youth, his school years in Dublin, his early life in Paris as lecteur at the famed Ecole Normale Superieure, his friendship with James Joyce, his work in the French resistance movement during the Nazi occupation, his precipitous flight from Paris when his involvement was discovered by the Gestapo, his clandestine years in the Vaucluse region of southern France, his postwar volunteer work with the Irish Red Cross Hospital in Saint-Lo, and his return to Paris in the late 1940s to resume his literary life." "In the second part, friends and colleagues share their memories of Beckett as a schoolboy, a teacher, a struggling young writer, and a sudden success in 1953 with the appearance of Waiting for Godot, which propelled him from virtual unknown to world-renowned. Actors with whom he worked, including Hume Cronyn, Jean Martin, Jessica Tandy, and Billie Whitelaw, relate their experiences; fellow playwrights and authors Edward Albee, Paul Auster, E. M. Cioran, J. M. Coetzee, Eugene Ionesco, Edna O'Brien, and Tom Stoppard speak of his work and its influence on theirs. One entire chapter is devoted to Beckett as director, for as time went on Beckett, first modestly, then authoritatively, oversaw the direction of many of his plays in France, Germany, and England."--BOOK JACKET.

Great Shakespeareans offers a systematic account of thosefigures who have had the greatest influence on the interpretation,understanding and cultural reception of Shakespeare, both nationally andinternationally. In this volume, leading scholars assess the contribution ofJames Joyce, T.S. Eliot, W.H. Auden and Samuel Beckett to the afterlife andreception of Shakespeare and his works.Each essay assesses the double impact of Shakespeare on the figurecovered and of that figure on the understanding, interpretation andappreciation of Shakespeare, providing a sketch of its subject's intellectualand professional biography and an account of the wider cultural context.

This collection presents articles that examine Joyce and Beckett’s mutual interest in and use of the negative for artistic purposes. The essays range from philological to psychoanalytic approaches to the literature, and they examine writing from all stages of the authors’ careers. The essays do not seek a direct comparison of author to author; rather they lay out the intellectual and philosophical foundations of their work, and are of interest to the beginning student as well as to the specialist.

“Irishness” has often meant self-dramatization because Ireland is commonly represented, and has historically represented itself, as a nation of storytellers, musicians, and virtuoso performers. Like many of their characters, Joyce and Beckett were superb musicians, creators of performance, and they sought both to evoke and exhaust the resources and rhythms of language and performance. In this groundbreaking work, Alan Warren Friedman explores the rich historical and literary backgrounds of this distinctly Irish phenomenon. He then explains its cultural significance and discusses the major works of both authors, illustrating the diverse ways in which Ireland is enacted. Party Pieces offers a distinct contribution to the critical study of Joyce and Beckett. Unlike other books on the subject of social performance, it places two great modern Irish writers within social and metaphorical conventions that are specifically moored in their Irishness. In so doing the author shows how social performances not only impacted the works of Joyce and Beckett but also were central to their creative processes. Meticulously researched, convincingly argued, and clearly written, Party Pieces is an ideal reference for scholars of Joyce, Beckett, and Irish studies.

An enlightening study of three writers, Flaubert, Joyce and Beckett: The Stoic Comedians begins with an explanation of the effect of the printing press on books. The "book as book" has been removed from the oral tradition by such features as prefaces, footnotes, and indexes. Books have become voiceless in some sense--they are to be read silently, not recited aloud. How this mechanical change affected the possibilities of fiction is Kenner's subject. Each of the three featured authors approached this situation in a unique, yet connected way: Flaubert as the "Comedian of the Enlightenment," categorizing man's intellectual follies; Joyce as the "Comedian of the Inventory," with his meticulously constructed lists; and Beckett as the "Comedian of the Impasse," eliminating facts and writing novels about a man alone writing.

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.