Buster Keaton on the set of Samuel Beckett's Film
Buster Keaton on the set of Samuel Beckett’s Film

Editors Paul Stewart and David Pattie are seeking contributions to Pop Beckett, a new collection of essays to be published by Ibidem Press:

“The subsequent presence of Beckett in popular culture – both the works and the figure of the man himself – covers a wide array of fields that, as Emilie Morin has suggested, might lead us to re-think Beckett’s continuing position in neoliberal capitalism. Moreover, the boundaries of popular and ‘high’ culture are open to contestation.”

— Source: The Samuel Beckett Society
Abstracts for possible submissions are requested by 20 December 2017, and, upon acceptance, the deadline for full-length essays is set at 30 May 2018. For more information about the projected book, visit the announcement on the Samuel Beckett Society website.

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Hannah Fitzpatrick and Anindya Raychaudhuri discuss a topical podcast that covers politics, power, and pop culture

What is the State of the Theory podcast?

Hannah Fitzpatrick: Like most podcasts, State of the Theory is a manifestation of our narcissism. It began as an optimistic hope (albeit with few expectations) that our casual conversations might be of interest to, and spark debate among, our friends and colleagues. We used to commute together a few times a week, and the car became a sort of impromptu seminar venue, but without the audience. After the last research auditing exercise undertaken by the UK government in 2014, Impact and Public Engagement became quantifiable entities that might be used for or against us later in our careers, so the podcast is a sort of compromise, a way for us to demonstrate that our thoughts have value beyond the walls of the Vauxhall Astra, while still doing it on our own terms. A way of selling out without entirely selling out, if you will. Also, we missed the long drive, where all we could do was chat, and we could have these long, multi-stage conversations over the course of a week or two, so the podcast was a way for us to recreate that time. (more…)

welcome-to-twin-peaks-new-sign-revealed-david-lynch

“I often wonder if Lynch is the era’s most original artist, or at least the creator of its most haunting images—the severed ear in Blue Velvet, the Red Room in Twin Peaks, the Mystery Man in Lost Highway—but his works feel too schlocky, seedy, tearful, too male, too white for me to want to say this often in conversation. His cinema is disreputably baroque, brimming with meaning that it seems to disavow. He’s of the same generation as Terrence Malick, Francis Ford Coppola, and Martin Scorsese, but where they now seem historical, Lynch still has the fragility of the contemporary. The greatness of his art seems directly linked to the kitsch of his materials, all the B-movie unheimlich maneuvers: doppelgängers, prosthetics, recurring numbers, dream sequences, animated corpses. And this, I think, is an enigma worth pursuing.”

— Adam Thirlwell, The New York Review of Books

The Samuel Beckett Society has details of an upcoming conference exploring the role that technology plays in the writer’s work:

“In April 1981, having devoted considerable time to resolving the technicalities that surrounded his TV play Quad, Samuel Beckett confessed to Ruby Cohn: ‘Not long back from Stuttgart. Unsatisfactory. Television is beyond me.’ Frustrating as it may have been at times, technology held its fascination for Beckett and often became enmeshed with his work. It remained central for him, as it continues to be for researchers and practitioners engaging with his work today.”

The deadline for the call for papers is 15 January 2018. The conference will take place between 13-15 September 2018 at the Faculty of Arts, Charles University in Prague.

American filmmaker answers questions from the audience at a recent photographic exhibition

“What matters is what you believe happened. […] Many things in life just happen and we have to come to our own conclusions. You can, for example, read a book that raises a series of questions, and you want to talk to the author, but he died a hundred years ago. That’s why everything is up to you.”

David Lynch