{"title":"Worsening Shades","authors":"M. Byron","doi":"10.1163/18757405-03301004","DOIUrl":"https://doi.org/10.1163/18757405-03301004","url":null,"abstract":"\u0000 Beckett’s late prose texts Company, Ill Seen Ill Said, and Worstward Ho perform a radical process of literary reimagination late in a long writing career: they reconfigure how biography relates to narrative, and they rethink the dimensionality and mobility of character. In their negotiations with literary history and etymology these texts replenish the stocks of language across the deep time of its evolution and its accrual of semantic and associative richness. In their rich geological and archaeological dispositions, the three texts of Nohow On demonstrate how deep time intersects with the narrative present in images of the earth, providing a locus for life and afterlife: both in the sense of the posthumous condition and in offering belated aesthetic possibilities.","PeriodicalId":53231,"journal":{"name":"Samuel Beckett Today/Aujourd''hui","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-07-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78879418","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Archive Trouble","authors":"P. Sheehan","doi":"10.1163/18757405-03301011","DOIUrl":"https://doi.org/10.1163/18757405-03301011","url":null,"abstract":"\u0000 In an era when the possibility of species extinction is more importunate than ever, Beckett’s 1958 play, Endgame, carries a profound sense of immediacy. This article considers the ‘afterlife’ subtended by the play in terms of its post-apocalyptic premise—traditionally, the provenance of the science fiction genre. Using Adorno’s 1961 reading of Endgame, which brushes aside any filiations with “childish science fiction,” the argument pivots on the ‘paring-down’ operations that deprive the drama of most of its resources. Since the latter includes the archivising operations of memory, their breakdown makes the play’s insistent SF allusions both inescapable and radically untenable.","PeriodicalId":53231,"journal":{"name":"Samuel Beckett Today/Aujourd''hui","volume":"5 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-07-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80713262","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Samuel Beckett and the Mathematics of Salvation","authors":"Christine Ackerley","doi":"10.1163/18757405-03301002","DOIUrl":"https://doi.org/10.1163/18757405-03301002","url":null,"abstract":"\u0000 One of the thieves was saved .… If, as Vladimir concludes at the outset of Waiting for Godot, “It’s a reasonable percentage,” then why not accept Pascal’s celebrated exhortation to believe, rather than to risk in the afterlife the terrors of the abyss or the inferno? This essay traces Beckett’s use of the motif of the two thieves with respect to the truism of Credo quia absurdum est, as manifest in the calculus that underlies the Monadology of Leibniz and informs Beckett’s writing from Murphy to How It Is, and his sense of the self as something that is/was neither One nor Zero.","PeriodicalId":53231,"journal":{"name":"Samuel Beckett Today/Aujourd''hui","volume":"39 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-07-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86299105","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"In the Middle of Nowhere","authors":"J. Goodall","doi":"10.1163/18757405-03301005","DOIUrl":"https://doi.org/10.1163/18757405-03301005","url":null,"abstract":"\u0000 Given that the condition of ‘mortal liveness’ was a greater cause for perplexity in Beckett’s writing than the notion of an afterlife, this essay considers evocations of a post-mortal state in The Unnamable and the three works of the later trilogy, Nohow On, as a continuum from the pre-natal state he claims to recall. The paintings of Jack B. Yeats, an acknowledged influence on Beckett, exhibit significant parallels in the evocation of figures whose tenuous presence in the landscape erases the boundary between shades and mortal beings.","PeriodicalId":53231,"journal":{"name":"Samuel Beckett Today/Aujourd''hui","volume":"22 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-07-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90917964","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Afterlife of Empire in Beckett’s How It Is","authors":"A. Cordingley","doi":"10.1163/18757405-03301007","DOIUrl":"https://doi.org/10.1163/18757405-03301007","url":null,"abstract":"\u0000 Relationships of political domination in Beckett’s Comment c’ est (1961)/How It Is (1964) are typically read through a specific historical moment (the Holocaust, the Algerian War) or literary representation (Dante, Sade). This article reveals spectres in the text from the long history of the colonisation of Ireland to the legacy of Renaissance and Enlightenment humanism; it explores Beckett’s sense of complicity in the Anglo-Irish Ascendency.","PeriodicalId":53231,"journal":{"name":"Samuel Beckett Today/Aujourd''hui","volume":"42 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-07-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80761301","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Endgame and the Life to Come","authors":"C. Conti","doi":"10.1163/18757405-03301008","DOIUrl":"https://doi.org/10.1163/18757405-03301008","url":null,"abstract":"\u0000 This paper revisits the interpretations of Endgame by Theodor Adorno and Stanley Cavell via an unusual route: Samuel Scheffler’s afterlife conjecture. Scheffler’s thought experiment—based on a doomsday scenario that Beckett’s characters already appear to inhabit—seeks the achievement of the ordinary in an age of climate change by disclosing our evaluative dependence on future generations. I suggest that the paradigm shift to a global subject lies not in the dystopian fiction Scheffler looks to, however, but the “shudder” of the ‘I’ in aesthetic experience, the model for which is Beckett’s Endgame.","PeriodicalId":53231,"journal":{"name":"Samuel Beckett Today/Aujourd''hui","volume":"28 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-07-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82183383","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Raymond Federman, Dying with Beckett","authors":"N. Camerlynck","doi":"10.1163/18757405-03301010","DOIUrl":"https://doi.org/10.1163/18757405-03301010","url":null,"abstract":"\u0000 Raymond Federman (1928–2009), known as a Beckett scholar, postmodern theorist and avant-garde novelist, was singularly devoted to the one he called Sam. Having escaped death, deportation in the Holocaust, his fiction recounts his experiences from the day of his “birth into death,” the 16th of July 1942. Writing what he called surfiction, fiction which exposes the fictionality of reality, Federman fashioned himself as a Beckett creature. This article outlines aspects of his devotion and its links to death and dying, starting with how he used Beckett’s words to confront his terminal illness.","PeriodicalId":53231,"journal":{"name":"Samuel Beckett Today/Aujourd''hui","volume":"48 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-07-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87311791","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Dead Enough to Bury","authors":"Russell Smith","doi":"10.1163/18757405-03301003","DOIUrl":"https://doi.org/10.1163/18757405-03301003","url":null,"abstract":"\u0000 This essay examines the concepts of life and afterlife as they appear across Beckett’s trilogy, through focussing on representations of the act of burial, an act which draws attention to a caesura between biotic and abiotic conceptions of both life and afterlife. As the worlds of the trilogy become progressively less biotic, The Unnamable might be thought of as a laboratory in which the ‘lives’ of its characters are subjected to various biological experiments, experiments which suggest that narrative fiction, like the act of burial, is a kind of prophylactic against the fundamental processual nature of biotic life.","PeriodicalId":53231,"journal":{"name":"Samuel Beckett Today/Aujourd''hui","volume":"6 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-07-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87415040","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Beckett and the Sub Specie Aeternitatis Vision","authors":"A. Uhlmann","doi":"10.1163/18757405-03301006","DOIUrl":"https://doi.org/10.1163/18757405-03301006","url":null,"abstract":"\u0000 This essay will consider the idea of the creation of the feeling of the ‘eternal’ in Samuel Beckett through a strange identification of temporalities that involve the immediate sensation of direct perception in the present, and idealised feelings from the past. It begins by unpacking Beckett’s comment in a letter to Thomas McGreevy of 5 March 1936 that affirms the importance of the ‘sub specie aeternitatis [from the perspective of eternity] vision’ (2009b, 318–321; Knowlson, 219). It considers Spinoza’s definitions of the ‘eternal’ and draws upon Beckett’s early essay Proust in developing readings of Beckett’s late prose works Ceiling (1981) and Stirrings Still (1989). It does this not to attempt to demonstrate Beckett’s debt to Spinoza, which remains open to question, but rather to underline how Beckett’s works, in dialogue with those of Spinoza, allow us to glimpse what is at stake in a particular idea of the eternal.","PeriodicalId":53231,"journal":{"name":"Samuel Beckett Today/Aujourd''hui","volume":"44 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-07-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81352542","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Sexuality after Life","authors":"Cecily Niumeitolu","doi":"10.1163/18757405-03301009","DOIUrl":"https://doi.org/10.1163/18757405-03301009","url":null,"abstract":"\u0000 This article teases out intertextual threads from the visual arts and image-lore that join Beckett’s Dream of Fair to Middling Women to Ill Seen Ill Said. It explores how Beckett’s treatment of gender and sexual desire are deeply informed by Western art history’s specific gender dyad. It argues that Beckett harnesses and agitates this dyad to provoke new understandings of sexuality, sight and sense. By engaging key events in Dream and Ill Seen it unfolds an erotics of nonrelation: the sexual dimension of Beckett’s work that admits the dead and inorganic encrypted and insisting within the all too human.","PeriodicalId":53231,"journal":{"name":"Samuel Beckett Today/Aujourd''hui","volume":"10 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-07-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91339537","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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