An excerpt from the writer’s diaries, translated by Barbara Wright
I was still very much under the influence of the surrealists, of attempts to approach the unconscious; in short of experiments made on language in what might be called its nascent state, that’s to say: independent of any rational order. A gratuitous game with vocabulary-that was my passion. Logic seemed to me to be incapable of attaining the very special domain of literature, which in any case I still equate with that of poetry. And so it was a fascination with the possibilities, the absolute freedom of creation, an intense desire to abolish all the constraints of classical writing, that made me produce these exercises which neither the logician, nor philosopher, nor moralist, will find to his taste. That doesn’t mean to say that the imaginative reader will not be able to find something in them to his taste. A reader in love with language and with the multifarious echoes that his emotions absorb when he is attuned to words. Hence, for him, a profusion of contradictory meanings, and the feeling of being released from the prisons of rationalizing reason.
Beckett and Europe
28th – 29th October 2015 – MERL, University of Reading
Abstract Deadline: 22nd June 2015
Keynote Speaker: Dr David Tucker (Chester University)
The Beckett at Reading Postgraduate group is pleased to announce a new postgraduate and Early Careers two-day conference with the theme of Beckett and Europe. We will be hosting two on-site archival workshops on manuscripts and performance during the conference. There will also be a public lecture on Happy Days by Professor James Knowlson. This will be followed by the Beckett International Foundation Seminar on the 30th of October.
We invite postgraduates and Early Career Researchers to submit abstracts under the general theme of ‘Beckett and Europe’. The aim of the conference is to engage postgraduates and ECRs in research exchange with an interdisciplinary and cross-media focus. Born in Ireland in 1906, Beckett wrote in English, French and German and directed his own theatrical work in London, Berlin and Paris. The span and influence of Beckett’s work in 20th Century Europe is essential to many questions that inform Beckett scholarship: How do we frame Beckett nationally/internationally and has this changed? What influence did Beckett have on European artists, writers and thinkers? How has Beckett’s work entered the European tradition? (more…)
Whispering Beasts presents Three Short Plays by Samuel Beckett, a triple bill of rarely performed Beckett plays at the Old Red Lion Theatre. The production, consisting of three dark comedies Act Without Words I, Catastrophe and Rough for Theatre II, will be directed by Sara Joyce and will run from 7 – 25 April, with a press night on 9 April. (more…)
The Samuel Beckett Society, Affiliated Session
Conference of the South Atlantic Modern Language Association (SAMLA)
Chair/contact: Michelle Rada, Brown University
This panel seeks to explore the ways in which bodies are figured and disfigured in Beckett’s work. On their own constituting an expansive “body of work,” Beckett’s prose texts, poems, plays, radio, television, and film works posit human, non-human, and inhuman bodies in different and often surprising forms. What kinds of bodies are incorporated, disembodied, or stripped bare in Beckett’s work? How can we trace the life, vulnerability, and survival of the body in single texts and across works? Are Beckettian physical and textual bodies susceptible to or immune from affect? Which bodies, metaphorical or otherwise, are excluded from consideration and care in a quite prolific archive of Beckett criticism? How does the body function and dysfunction across genre and media, prose and performance? The purpose of this panel is to provide a multidisciplinary platform for thinking about the body in Beckett’s work through emerging reading practices, which could engender new connections and ideas for such an extensively critiqued range of texts. In keeping with SAMLA’s theme for the 2015 conference, “In Concert: Literature and the Other Arts,” emphasis placed on thinking across genre, media, and theoretical approaches is encouraged, and will be a significant part of our conversation at this panel. (more…)
Stefano Rosignoli (New Dublin Press) has interviewed Lois M. Overbeck about the progress of Samuel Beckett’s Letters, an ambitious four-volume collection of the Nobel laureate’s correspondence
At the end of a summer rich in events on Samuel Beckett, scattered largely between Dublin, Belfast and Enniskillen, academic research was encouraged in October with the publication by Cambridge University Press of the third volume of the writer’s correspondence. As in the previous volumes, Beckett’s statements about his own work, as well as the many intertextual references expanded on in the dense notes appended by the editors, demonstrate the scholarly value of the publication, which will become a primary resource especially for young researchers with no opportunity to explore public archives and private collections on both sides of the Atlantic. It is Beckett’s mocking depiction of intellectual life, however, rather than the crowded web of literary and artistic influences, that strikes the general reader and ensures that the letters are an enjoyable, rather than purely informative reading experience: “On m’a demandé un livret d’opéra bouffe! J’ai écrit une ligne – ‘J’ai pas envie de chanter ce soir’ – puis j’ai renoncé.” (“I have been asked for a libretto for a comic opera! I wrote one line: ‘I don’t feel like singing tonight’. Then I gave up.” SB to Jacoba Van Velde, 12.04.1958; in LSB III, 130-131). This trenchant tongue doesn’t appear to spare Beckett himself. In the same letter he declares, exhausted: “Il y a deux moments qui valent la peine, dans le travail, celui de la mise en route et celui de la mise en corbeille” (“There are two worthwhile moments in my work: the opening up and the basketing”; ibid.). This is just one of the many accounts of Beckett’s distress when facing the creation of new work, something that continues to spring at the author from the white page itself even during the years of his belated success.
I met Lois M. Overbeck, research associate at Emory University and general editor of The Letters of Samuel Beckett, to discuss the series, which is now approaching its conclusion. The interview took place just a few days after a public lecture given in Reading by Dan Gunn, professor at the American University of Paris and editor of the Cambridge collection, and before a reception at the Irish Embassy in London, which hosted a reading of the letters given by Barry McGovern. (more…)