“Samuel Beckett kept a copy of The Divine Comedy by his bedside as he lay dying in a Paris hospice in 1989. Oxygen canisters stood nearby for his emphysema but, immersed in Dante, he appeared to be ‘having fun’, remembered the poet Derek Mahon (who visited him a month before he died at the age of 83).”
“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.”
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 writer and academic scholar talks about juggling writing with family and a full-time job, his artistic influences, and his enduring interest in the work of Samuel Beckett
How did you come to be a writer?
I began writing fiction seriously near the end of my doctorate, in 2011 or so. At the time I was preparing to leave Oxford for a lectureship in Australia. The writing I did in Oxford and then in Wollongong (a coastal town in New South Wales), over summers at an archive at UT Austin, and elsewhere, eventually became a book project: Three Pioneers. I finished the project in 2013, in the UK.
The book clearly had a lag before it saw publication; it ran through a long list of publishers and agents who, when they replied at all, uniformly classed it as ‘too difficult’ or, less often, ‘too philosophical’ (I’m aware that in the vocabulary of many of these gatekeepers these are euphemisms, to put it mildly).
You ask how I ‘became a writer’. As transparently as I can, permit me to say that writing, the kind of writing we are talking about, was and remains an obscure urge for me. I am not writing, in any case, to become a ‘novelist’ or a ‘writer’ in the sense of someone who is an authority on writing, a cultural authority, or a practitioner of a certain genre; if I were, I would have written (would be writing) differently. As an academic, too, there are other routes, other forms of writing that are open to me to pursue such aims, in however limited a manner. Nor does being an ‘artist’ attract me (I will let that term remain vague). Again, I could have been an ‘artist’ otherwise, and to my mind, more directly – I could have wholly devoted myself to painting, for example, to which I once partially devoted myself.
Why write, then? What can still be called the novel, in the loosest possible sense of the term, is a way of thinking and feeling that allows me to stage problems that I otherwise find difficult to articulate. As this response perhaps suggests. (more…)
Emilie Morin’s recent book sheds light on Beckett’s engagement with cultural and political issues
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.
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.
Marc Farrant on the major international conference that sparked new ways of thinking about the South African Nobel laureate
How did you first encounter J. M. Coetzee, and what was it that sparked the idea for co-organising a conference on Coetzee & the Archive?
Like many Coetzee readers my first encounter was with the novel Disgrace. I was studying for a Masters at UCL and Disgrace was a core text on the year-long module covering modern English literature from the late nineteenth-century. It was immediately obvious why the novel was the on course, not least from the mixed reactions it provoked. Indeed, it was the only text we covered that year to garner opprobrium from some students in class. It’s a difficult read, the opening scenes that feature a licentious older man preying on one of his students, followed by the rape of his own daughter, test a reader’s mettle. But, it seemed to me at the time and still does, the open hostility the novel received required that one either ignore or abnegate a great deal of the responsibility the text places on the reader: the demand to respond to the ethical issues posed in the work beyond the staid and inherited conventions of moral outrage; to respond to the subtlety of a complex narrative voice that constitutes one of the best ever representations of complicity in the literary tradition, of the complicity of a liberal and educated conscience in crisis. Disgrace broaches the difficult terrain between both redemption and salvation, neither of which will fully serve since both partake of a certain violence or act of exclusion that would appear to tarnish the self-righteous anger of the oppressed as much as the villainy of the oppressor. If readers nevertheless insist that the novel is irresponsible it is therefore irresponsible, I would add, in the sense of informing us that it is perhaps never possible to be responsible enough, that responsibility is always lacking. Given its slender size the above, plus the intricate folds of literary and theological allusions, and the critique of the rationalizing project of secular modernity, makes for quite a novel! (more…)
Originally published in French as Malone meurt in 1951 and later translated into English by the author himself, Malone Dies is the second novel of Samuel Beckett’s Trilogy. The Making of Samuel Beckett’s ‘Malone Dies’/’Malone meurt’ is a comprehensive reference guide to the history of the text. Read the Bloomsbury press release over at the Samuel Beckett Society website.
Sam Shepard‘s final work, Spy of the First Person, has been published this week by Knopf. In an early review for USA Today, Jocelyn McClurg describes it as “an autobiographical work of fiction” with a “fragmentary, disjointed narrative”. McClurg goes on to offer a pithy summary suggesting a debt to the Irish writer, Samuel Beckett, calling Shepard’s novel “Waiting for Godot in the desert.” (more…)
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.
The author of A Girl is a Half-formed Thing has been confirmed as the University of Reading’s first Beckett Creative Fellow. The Samuel Beckett Society website has more:
“A multi-award-winning author will set out to create a new piece of creative work inspired by Samuel Beckett after being confirmed as the University of Reading’s first Beckett Creative Fellow.
Eimear McBride, whose novel The Lesser Bohemians won a James Tait Black Prize earlier this year, will have unique access to the University’s internationally-recognised Beckett Archive and be able to draw on academic expertise with in-depth knowledge of the Irish novelist, poet, and playwright.”
On 2 November 2017, Special Collections at the University of Reading will be hosting a day on ‘Editing Modernist Letters’. Organised by the Beckett at Reading Postgraduate Group (BARP), the day will include talks by academics in the field (Joanne Winning and Nicola Wilson), and two workshops based on the correspondence of James Joyce and Samuel Beckett. To find out more about the event, or to book tickets, visit the BARP website.
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.