This volume brings together three of Nobel Prize winner Samuel Beckett’s major short stories and thirteen shorter pieces of fiction that he calls “texts for nothing.” Here, as in all his work, Beckett relentlessly strips away all but the essential to arrive at a core of truth. His prose reveals the same mastery that marks his work from Waiting for Godot and Endgame to Molloy and Malone Dies. In each of the three stories, old men displaced or expelled from the modest corners where they have been living bestir themselves in search of new corners. Told, “You can’t stay here,” they somehow, doggedly, inevitably, go on. Includes: “The Expelled” “The Calmative” “The End” Texts for Nothing (1-10)

A powerful, genre-defying meditation, with Beckett at its origin, that touches on mysteries as varied as literary celebrity, baseball, and why we feel the need to be cruel to one another Following the schema of Samuel Beckett's unpublished "Long Observation of the Ray," of which only six manuscript pages exist, poet and critic Michael Coffey interleaves multiple narratives according to an arithmetic sequence laid out by Beckett in his notes. This rhythm of themes and genres--involving personal memoir, literary criticism, Beckett studies, contemporary political reportage and accounts of state-sponsored torture in appropriated texts, plus an Arabian Tale and even a baseballplay-by-play--produce a work at once sculptural, theatrical, mathematical and above all lyrical, a new form of narrative answering to a freshened rule set. In executing Beckett's most radical undertaking--one scholar referred to "Long Observation of the Ray" as a "monument to extinction"--Coffey gives readers access to an open field in which ruminations on writing mix with an engagement with Beckett scholarship as well as the unsettling chaos in today's world. Although Beckett, like any writer, had his share of abandoned works, he was in the habit of "unabandoning" on occasion. Coffey's effort here salvages a Beckett project from a half-century ago and brings it to the surface, with the contemporary markings of its hauling.

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.

Winner of the 2003 Trillium Book Award "Stories are wondrous things," award-winning author and scholar Thomas King declares in his 2003 CBC Massey Lectures. "And they are dangerous." Beginning with a traditional Native oral story, King weaves his way through literature and history, religion and politics, popular culture and social protest, gracefully elucidating North America's relationship with its Native peoples. Native culture has deep ties to storytelling, and yet no other North American culture has been the subject of more erroneous stories. The Indian of fact, as King says, bears little resemblance to the literary Indian, the dying Indian, the construct so powerfully and often destructively projected by White North America. With keen perception and wit, King illustrates that stories are the key to, and only hope for, human understanding. He compels us to listen well.

This “witty and droll” collection of philosophical tweets from the popular @NeinQuarterly offers a “perfect antidote to relentless positivity” (Publishers Weekly). “Rome didn’t burn in a day.” —Nein. A Manifesto Eric Jarosinski is the self-described “failed intellectual” behind @NeinQuarterly, a “Compendium of Utopian Negation” that uses the aphoristic potential of Twitter to plumb the existential abyss of modern life. In Nein. A Manifesto, Jarosinski collects his finest meditations on modern misery. Stridently hopeless and charmingly dour, Nein. A Manifesto is an irreverent philosophical investigation into our most—and least—urgent questions. Inspired by the aphorisms of Nietzsche, Karl Kraus, Walter Benjamin, and Theodor W. Adorno, Jarosinski’s short-form style reinvents philosophy for a world doomed to distraction. Critical thinkers, lovers of language, bibliophiles, manics, and depressives alike will be drawn to this compelling, witty, and often hilarious translation of digital into print, theory into praxis, and tragedy into farce. [REVIEWS] “I hate Twitter, I think it should be prohibited—but Jarosinski’s Nein. is the only exception, the only reason that justifies it! He is like a radical Norman Bates from Psycho intervening with his tweets which are like fast cuts with a knife!” —Slavoj Žižek “Witty and droll . . . There are gems on nearly every page. The book might seem tongue-in-cheek, but Jarosinski’s cynical aphorisms about philosophy, art, language, and literature hold plenty of truth. It is the perfect antidote to the relentless positivity of the stereotypical self-help manual.” —Publishers Weekly “A hilarious manifesto of dystopian epigrams. Nein. is the devil on your shoulder, now on your shelf.” —Ben Schott, author of Schott’s Miscellany and Schottenfreude: German Words for the Human Condition “Nein. celebrates everything that it negates. It is quietly, joyously bleak. Will you enjoy it? Perhaps better to ask: can you be certain that you’ve ever enjoyed anything?” —MC Frontalot

Samuel Beckett (1906-1989). Irish dramatist and poet. His use of the stage and dramatic narrative and symbolism has revolutionalized drama in England.

The three pieces that comprise this volume are among the most delicate and disquieting of Samuel Beckett’s later prose. Each confined to a single consciousness in a closed space, these stories are a testament to the mind’s boundless expanse. In Company, a man—"one on his back in the dark"—hears a voice speak to him, describing significant moments from his lifetime, and yet these memories may be merely fables and figments invented for the sake of companionship. Ill Seen Ill Said tells of a solitary old woman who paces around a cabin, burdened by existence itself. And Worstword Ho explores a world devoid of rationality and purpose, containing the famous directive: "Try again. Fail Again. Fail Better." The quintessential distillation of Beckett’s philosophy on human existence and the ultimate example of his minimalist approach to fiction, Nohow On is a vital collection, concerned with conception and perception, memory and imagination.