“The age of the sequel is over. Now it’s the age of the sequel to the sequel. Also the prequel, the reboot, the reunion, the revival, the remake, the spinoff and the stand-alone franchise-adjacent film. Canceled television shows are reinstated. Killed-off characters are resuscitated. Movies do not begin and end so much as they loiter onscreen. And social media is built for infinite scrolling. Nothing ends anymore, and it’s driving me insane.”
“One of the most persistent myths in America today is that urban areas are innovative and rural areas are not. While it is overwhelmingly clear that innovation and creativity tend to cluster in a small number of cities and metropolitan areas, it’s a big mistake to think that they somehow skip over rural America.”
“In the fall of 1956, the Soviet Union crushed an uprising in Hungary, swiftly ending an attempt to escape the superpower’s grip on the Eastern bloc. The Soviet tanks that rolled through Budapest also brought an end to the belief of many intellectuals and artists here in the ideals of Communism.
The Hungarian composer Gyorgy Kurtag, then 30, felt his whole world collapse that year. “Not just the outside world, but my inner universe, too,” he once said in an interview.
Mr. Kurtag spent the next two years in Paris, seeking new meaning for his life and work under the guidance of a psychoanalyst. He studied with the composer Olivier Messiaen, and heard the music of Anton Webern and Arnold Schoenberg at concerts given by Pierre Boulez. From the isolation of Communist Hungary, he had emerged into the West’s center of musical modernism.
It was in Paris during this period that Mr. Kurtag first saw Samuel Beckett’s play “Endgame.” The encounter set him on a lifelong journey, studying Beckett’s works and creating music inspired by them. Six decades later, on Nov. 15, this odyssey — and the career of one of the last living giants of 20th-century music — will culminate in Mr. Kurtag’s long-awaited, long-delayed first opera, based on “Endgame,” at the Teatro alla Scala in Milan.”
“English Heritage this week asked for suggestions to increase the number of women honoured by its blue plaques. The current proportion is 14%, though a sizeable band of female writers will soon be eligible: Beryl Bainbridge, Penelope Fitzgerald, Elizabeth Jane Howard, PD James, Sarah Kane, Doris Lessing, Ruth Rendell and Muriel Spark.”
The Beckett International Foundation at the University of Reading has announced that the next Beckett Research Seminar will take place on Saturday, 24 November 2018.
Tickets can be purchased on the door on the morning of the seminar, but they need to know numbers for catering so please email Mark Nixon at firstname.lastname@example.org by Thursday 15 November if you wish to attend. As such please notify the organiser if you have any dietary requirements.
The event will include talks by Julie Bates (Trinity College Dublin), Pim Verhulst (University of Antwerp), Lucy Jeffery, and Shane Weller (University of Kent). You can find out more about the event on the The Samuel Beckett Society website.
The British Association for Modernist Studies has made the following announcement on its official webpage:
“Our Postgraduate Bursary Award Scheme has become the major scheme of its kind in the UK. Each year, we make significant funds available to students researching Irish-related topics at British universities. We aim to support research that uncovers new or neglected areas in the field. As an applicant, you are encouraged to produce a specific and targeted funding request, detailing how the award will support your research. Your applications will be assessed by a panel of important international academics, ensuring that this is a valuable award in more ways than one. We are keen to recognise the diversity of work taking place on Irish culture and society when coming to our final decision. In any one year we usually give bursaries to between three and six winners (sums are usually between £300–£1000). The bursaries are presented to successful candidates by the Irish Ambassador to Great Britain, at our Awards Ceremony held at the Irish Embassy in London.”
The deadline for submission of applications is 17 March 2019 and the awards will be announced in April 2019. For more information, take a look at the Prizes and Funding page of the British Association for Irish Studies website.
I am both delighted and honoured to announce that RhysTranter.com has been selected by the British Library’s UK Web Archive “as an important part of Wales’ documentary heritage”. The site has become part of the repository’s permanent collection, where it will “remain available to researchers in the future”. The UK Web Archive is a partnership between the British Library, the National Library of Wales, and the National Library of Scotland.
Find out more about the UK Web Archive.
Anticipating a new production of Samuel Beckett’s Waiting for Godot at New York City’s Lincoln Center, Colm Tóibín shares his observations on the iconic play.
Could you tell me a little bit about yourself and your research interests?
My research revolves around modernism and post-1945 literature, and the essays and books that I have published on Beckett’s work explore its relation to politics, its historical dimensions, and its Irish and European influences. I have been working in the Department of English at the University of York for over ten years.
How did you first encounter Samuel Beckett’s writing?
I must have been about fifteen, I think, when I first heard about Beckett. A friend of mine told me about a play that she had seen in which two actors were trapped in rubbish bins, and I was intrigued! Soon after I came across copies of the early absurdist plays, in the lovely Editions de Minuit versions. I was particularly struck by Oh les beaux jours, with its memorable cover featuring Madeleine Renaud stoically holding her umbrella.
It seemed to me remarkable that a whole play could be made to unfold from that situation, from that image. The author was of no concern to me then, but from that first reading I recall being convinced that the work dealt with colonialism and with colonial wars, and I remember seeing a very literal political dimension within it. The French texts have a peculiar texture; they refract much of what is unsaid about colonial history, and much of what is culturally unsayable about historical injustice, and I was sensitive to that. These were powerful impressions, which stayed with me thereafter. When I began to study Beckett’s work properly, many years later, I did so in light of its Irish literary and historical contexts, and my first monograph was a reappraisal of Beckett’s relation to Ireland. For me, the work is never abstract: it is inseparable from war memory and from the long colonial histories that it invokes. In a sense, this new book was a return to my first impressions: when I started researching, I worked on what is now the final chapter on Beckett and the Algerian War of Independence. (more…)
As The Story Was Told (1996), a two-part documentary featuring interviews with authorised biographer James Knowlson, publishers John Calder and Barney Rosset, actress Billie Whitelaw, nephew Edward Beckett, and others. The documentary is notable, in part, for its glimpses of Beckett’s home in Paris and his country retreat in Ussy-sur-Marne.
Sat down and read Cormac McCarthy‘s play (or “novel in dramatic form”) The Sunset Limited. An African American man saves a white college professor from suicide, and they share a compelling dialogue about life, suffering, religion, and humanism. Sometimes McCarthy’s stage directions lack racial sensitivity and tact (e.g. “the black” vs. “the professor”), but the characters have an intelligent and entertaining critical dialogue. Dianne C. Luce offers an interesting reading of the text’s conclusion over at the official Cormac McCarthy website (contains spoilers):
“The novel’s denouement rests on the intellectual triumph of White, which ironically leads to his suicide, and the temporary rhetorical defeat of Black, who courageously recommits to his belief in the possibility of goodness. Thus the dialogue remains elegantly balanced, poised between forceful articulations of opposing views of life and human nature, giving ascendancy to neither. McCarthy seems to have no ideological agenda here, but rather he aims at capturing the internal debate of the thoughtful individual seeking to navigate the subway of earthly existence, who hears within him- or herself the competing voices of, on the one hand, empirical reasoning and world-wearying experience and, on the other, hope and the transcendent spirit.”
Overall, a genuinely engaging work struck through with darkly comic elements. Recommended.
Today marks 112 years since the birth of Irish writer, playwright, and Nobel laureate Samuel Beckett. To celebrate, the Samuel Beckett Society have assembled a collection of links to celebrate his life, work, and legacy. You can see their collection for yourself at the Samuel Beckett Society’s official website.
In a recent essay published in Literary Hub, Madelaine Lucas shares her experience of reading Sam Shepard‘s personal notebooks at the Harry Ransom Center in Austin, Texas:
“In Sam Shepard’s notebooks there are lists of trees: cottonwood, dogwood, apricot, willow, polar, locust, crab apple, silver maple. There are guitar chords with Spanish lyrics, passages of prose that could be read as diary-entry confession or script, and unattributed quotations that might be lines picked-up from conversations overheard on the road or dialogue for a work-in-progress. In the back of one notebook, a photocopied review of Shepard’s 1983 play Fool for Love is folded up with an article about fly-fishing. Taped inside the dirt-red cover of another—a business card for Ray E. Ortiz ‘Horseshoeing’ in La Cienega. Between these pages, there is no separation between what makes up art and what makes up life.”
“There are many myths about class in the UK. The repercussions of these myths go largely unchallenged, and individual voices are often lost. In the first of a new series looking at the diversity of stories that make up the working class, Dr Michelle Deininger charts her journey from a council estate in Oxfordshire through her experiences in education to her current role as humanities lecturer at Cardiff University.”
Source: Wales Arts Review
Archival excavation and detailed contextualisation is becoming increasingly central to scholarship on literary modernism. In recent years, the increased – and often online – accessibility and dissemination of previously unpublished or little-known texts has led to paradigm-shifting scholarly interventions across a range of canonical and lesser-known authors, neglected topics, and critical methodologies including genetic criticism, intertextuality, book history, and historical documentation. This trend is only bound to increase as large-scale digitisation of archival materials gathers pace, and existing copyright restrictions gradually lapse.
These two book series have been at the forefront of this burgeoning trend, and this international conference will take stock of these developments. Above all, it will also point forwards, towards future avenues of research. The authors and editorial board members connected with the series will reflect upon the ‘state of the art’ regarding archive-based research within their particular sub-discipline, connecting this to Modernism Studies as a whole. The provisional paper titles listed below reflect their responses to this invitation. (more…)