“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 email@example.com 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.