Samuel Beckett: Criticism (1): Annual Listing (Monographs)


File 1 Annual Listings (Monographs)
File 2 Annual Listings (Articles)
File 3
Major biographies
Critical Collections
Reference & Bibliography
General Studies
Journals: Beckett Issues
Miscellaneous (Exhib. Cats.)
File 4 Tables of Contents

See Journal of Beckett Studies (Edinburgh)
- online.


Note: Critical Collections are listed separately from Monographs in the attached files - i.e., read both files to form a complete chronological picture of book-publication in criticism on Beckett. (The respective listings have been separated for editorial convenience but will be mirrored in their totality on this page as soon as possible.)


Annual Listing (monographs)
    1960-69
  • Hugh Kenner, Samuel Beckett: A Critical Study (NY: California UP 1961; London: Calder 1962), 208pp. [ded. Vivian Mercier, ‘polymath’ [Chaps., ‘The Man in the Room’, ‘The Rational Domain’, ‘The Cartesian Centaur’, ‘Life in the Box’, ‘Voices in the Dark’], Do. [rev. edn] (Berkeley: California UP 1968; rep. 1973), 226pp. [with add. chap., ‘Progress Report 1962-65’ [see extract].
  • Hugh Kenner, The Stoic Comedians: Flaubert, Joyce and Beckett [3 lectures at 3rd Annual Georgetown University Conference on Contemporary Literary Criticism, July 1961] (Boston: Beacon Press 1962), ill. Guy Davenport; Do. [rep.] (London: W. H. Allen 1974), xviii, 106pp., and Do. [rep.] (Norman, Illinois: Dalkey Archive Press 2004), xviii, 106pp., ill. [Davenport].
  • Martin Esslin, The Theatre of the Absurd (NY: Doubleday 1961; Anchor 1962), Do. [rev. edn] (Harmondsworth: Penguin 1968). [see extract]
  • Ruby Cohn, Samuel Beckett: The Comic Gamut (New Brunswick: Rutgers UP 1962)., 340pp.
  • John Fletcher, The Novels of Samuel Beckett (London: Chatto & Windus 1964), 256pp., and Do. [2nd rev. edn] (London: Chatto & Windus 1970), 252pp., and Do. [another edn.] (NY: Barnes & Noble 1970, rep. 1972 ) [see extract].
  • Josephine Jacobsen & Frederick J. Mueller, The Testament of Samuel Beckett (London: Faber 1964) [see extract].
  • J. M. Coetzee, ‘The Manuscript Revisions of Beckett’s Watt’, in Journal of Modern Literature (Nov. 1972), pp.472-80 [see extract].
  • Richard N. Coe, Beckett (Edinburgh & London: Oliver & Boyd 1964), Do. [rev. edn] (Oliver & Boyd 1968) [see extract].
  • F. J. Hoffman, Samuel Beckett: The Language of Self (NY: Dutton 1964).
  • Raymond Federman, Journey to Chaos: Samuel Beckett’s Early Fiction (California UP 1965).
  • Nathan A. Scott, Samuel Beckett (London: Bowes & Bowes 1965; NY: Hillary House 1965; rep. 1969).
  • Ludovic Janvier, Pour Samuel Beckett (Paris: Editions de minuit 1966).
  • Pierre Mélese, Samuel Beckett (Paris: Seghers 1966).
  • John Fletcher, Samuel Beckett’s Art (London: Chatto & Windus 1967).
  • Robert Harrison, Samuel Beckett’s ‘Murphy’: A Critical Excursion (Georgia UP 1968) [v., 99pp.]
  • Ronald Hayman, Samuel Beckett (London: Heinemann 1968; 2nd edn. 1974; 3rd edn. 1980).
  • Alec Reid, All I Can Manage, More Than I Could: An Approach to the Plays of Samuel Beckett (Dublin: Dolmen 1968), 94pp.
  • Michael Robinson, The Long Sonata of the Dead: A Study of Samuel Beckett (NY: Grove 1969) [2 pts.].
  • Ludovic Janvier, Beckett par lui-même (Paris: Editions du seuil 1969).
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    1970-79
  • Olga Bernal, Language et fiction dans les romans de Beckett [Nouvelle revue française] (Paris: Gallimard 1970).
  • Raymond Federman & John Fletcher, Samuel Beckett: His Works and His Critics (Berkeley: California UP 1970).
  • Patrick Murray, The Tragic Comedian: A Study of Samuel Beckett (Cork: Mercier 1970), 131pp.
  • Eugene Webb, Samuel Beckett: A Study of His Novels (London: Peter Owen 1970; rep. 1972; Seattle: Washington UP 1970; reps. 1972, 1974), 192pp.
  • G. C. Barnard, Samuel Beckett: A New Approach: A Study of the Novels and Plays (London: Dent 1970), 144pp.
  • Edith Kern, Existential Thought and Fictional Technique: Kierkegaard, Sartre and Beckett (Yale UP 1970).
  • Lawrence E. Harvey, Samuel Beckett: Poet and Critic (New Jersey: Princeton UP 1970), 451pp. [incl. interview, ‘Beckett on Life and Art’].
  • Sighle Kennedy, Murphy’s Bed: A Study of Real Sources and Sur-real Associations in Samuel Beckett’s First Novel (Lewisburg: Bucknell UP 1971), 325pp. [available at Google Books - online].
  • James Knowlson, Samuel Beckett: An Exhibition Held at Reading University, May to July 1971 with a foreword by A. J. Leventhal (London: Turret Books 1971), 123pp.
  • David H. Hesla, The Shape of Chaos: An Interpretation of the Art of Samuel Beckett (Minnesota UP/OUP 1971), 252pp.
  • Francis Doherty, Samuel Beckett (London: Hutchinson UP 1971), 156pp.
  • James Knowlson, Light and Darkness in the Theatre of Samuel Beckett [Public lecture delivered at Trinity College, Dublin, on 7 Feb. 1972] (London: Turret Books 1972), 41pp.
  • Sighle Kennedy, ‘“The Devil and Holy Water” - Samuel Beckett’s Murphy and Flann O’Brien’s At Swim-Two-Birds’, in Modern Irish Literature: Essays in Honour of William York Tindall, ed. R. J.Porter & J. D. Brophy (NY: Iona College Press 1971), 252-60
  • Eugene Webb, The Plays of Samuel Beckett (London: Owen 1972; Seattle: Washington UP 1972; rep. 1974).
  • A. A. Alvarez, Beckett [Modern Masters ser. gen. ed. Frank Kermode] (NY: Viking; London: Fontana/Collins 1973), 144pp.; Do. [another edn.] (London: Woborn Press 1974), 144pp., and Do [2nd rev. edn.] (London: Fontana Press 1992), 156pp. [actually given as A. Alvarez].
  • Brian H. Finney, Since ‘How It Is’: A Study of Samuel Beckett’s Later Fiction [Covent Garden Essays, 2] (London: Covent Garden 1973), 45pp..
  • Hugh Kenner, Samuel Beckett: A Reader’s Guide (NY: Farrar, Straus & Giroux; London: Thames & Hudson 1973), 208pp. [see extract].
  • Hans-Joachim Schulz, This Hell of Stories: A Hegelian Approach to the Novels of Samuel Beckett (The Hague/Paris: Mouton 1973), 117pp.
  • H. Porter Abbott, The Fiction of Samuel Beckett: Form and Effect (California UP 1973), 167pp.
  • Hélène L. Baldwin, Samuel Beckett’s Real Silence (Philadelphia: Pennsylvania UP 1974; rep. 1981), viii, 171pp.
  • Kathleen McGrory & John Unterecker, eds., Yeats, Joyce, and Beckett: New Light on Three Modern Irish Writers (Lewisburg: Bucknell UP [1976]), 184pp., ill. [incls. Chronological Bibliography of Works compiled by William York Tindall, pp.183-84].
  • Ruby Cohn, Back to Beckett (New Jersey: Princeton UP 1973; rep. 1976), 274pp.
  • Philip H. Solomon, The Life after Birth: Imagery in Samuel Beckett’s Trilogy [Romance Monographs] (Mississipi UP 1975).
  • John Pilling, Samuel Beckett (London: Routledge 1976).
  • Dina Sherzer, Structure de la trilogie de Beckett (The Hague/Paris: Mouton 1976).
  • Stephen Rosen, Samuel Beckett and the Pessimistic Tradition (New Brunswick: Rutgers UP 1976).
  • Alice and Kenneth Hamilton, Condemned to Life: The World of Samuel Beckett (Mich: William B. Eerdmans 1976).
  • Raili Elovaara, The Problem of Identity in Samuel Beckett’s Prose (Helsinki: Suomalainen Tiedeakatemia 1976).
  • Clas Zilliacus, Beckett and Broadcasting: A Study of the Works of Samuel Beckett for and in Radio and Television (Finland: Abo Akademi 1976).
  • Vivian Mercier, Beckett/Beckett (NY: OUP 1977; rep. 1990), and Do. [rep. edn.] (Souvenir Press 2008), 273pp.
  • S. E. Gontarski, Beckett’s ‘Happy Days’: A Manuscript Study (Columbus: Ohio State University Libraries 1977).
  • Brian T. Fitch, La trilogie de Beckett (Paris: Minard 1977).
  • Bert O. States, The Shape of Paradox: An Essay on Waiting for Godot (California UP 1978), 120pp.
  • Beryl Fletcher & John Fletcher, A Student’s Guide to the Plays of Samuel Beckett (London: Faber 1978; 2nd edn.1985).
  • Richard L. Admussen, The Samuel Beckett Manuscripts: A Study (Boston: G. K. Hall 1979).
  • Ramona Cormier & James L. Pallister, Waiting for Death: The Philosophical Significance of Beckett’s ‘En Attendant Godot’ (Alabama UP 1979), 155pp.
  • Barbara Reich Gluck, Beckett and Joyce: Friendship and Fiction (Bucknell UP 1979), 225pp. [see contents].
  • James Knowlson & John Pilling, Frescoes of the Skull: The Later Prose and Drama of Samuel Beckett (London: John Calder 1979), xx, 292pp., and Do. [1st Evergreen Edn.] (NY: Grove Press 1980), xx, 292pp.
  • Ronald Hayman, Theatre and Anti-theatre: New Movements since Beckett (London: Secker & Warburg 1979), 272pp.
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    1980-90
  • Eric P. Levy, Beckett and the Voice of Species: A Study of the Prose Fiction (Dublin: Gill & Macmillan; Totowa: Barnes & Noble 1980), ix, 145pp. [see contents].
  • Ruby Cohn, Just Play: Beckett’s Theater (New Jersey: Princeton UP 1980; rep. Ann Arbor: UMI Books on Demand 1996), 314pp., ill.
  • James Knowlson, Theatre Workshop I: ‘Krapp’s Last Tape’ (London: Brutus 1980).
  • Eugene Kaelin, The Unhappy Consciousness: The Poetic Plight of Samuel Beckett (Dordrecht/Boston/London: D. Reidel 1981; Boston: Kulwer 1982).
  • John C. Di Pietro, Structures in Beckett’s ‘Watt’ (York, NC: French Literature Publications 1981).
  • Noëllle Ryan, Samuel Beckett: Early Days in Foxrock (Foxrock: Foxrock Local Hist. Club 1982), 9pp.
  • Angela Moorjani, Abysmal Games in the Novels of Samuel Beckett (Chapel Hill: North Carolina UP 1982).
  • J. E. Dearlove, Accommodating the Chaos: Samuel Beckett’s Nonrelational Art (Durham: Duke UP 1982).
  • Morris Beja, S. E. Gontarski & Pierre Astier, eds., Samuel Beckett: Humanistic Perspectives (Ohio State UP [1982]), x, 217pp.
  • Charles R. Lyons, Samuel Beckett (NY: Grove 1983).
  • Kristin Morrison, Canters and Chronicles: The Use of Narrative in the Plays of Samuel Beckett and Harold Pinter (Chicago UP 1983).
  • Rubin Rabinovitz, The Development of Samuel Beckett’s Fiction (Chicago: Illinois UP 1984), 231pp.
  • Lance St. John Butler, Samuel Beckett and the Meaning of Being: A Study in Ontological Parable (London: Macmillan 1984), 213pp.
  • Gottfried Buttner, Samuel Beckett’s Novel ‘Watt’: A Gnosiological Reading, trans. Joseph P. Dolan (Pennsylvania UP 1984).
  • Sidney Homan, Beckett’s Theatres: Interpretations for Performance (Lewisburg: Bucknell UP 1984).
  • James Knowlson, ‘Happy Days’: Samuel Beckett’s Production Notebook (London: Faber; NY: Grove 1985).
  • Michael Sheringham, Molloy (London: Grant & Culter 1985).
  • Floyd Merrell, Deconstruction Reframed (West Lafayette: Purdue UP 1985).
  • Virginia Cooke, Beckett on File (London: Methuen 1985).
  • John Fletcher & John Spurling, Beckett the Playwright [expanded editon of Beckett: A Study of His Plays] (London: Methuen; NY: Hill & Wang 1985).
  • S. E. Gontarski, The Intent of ‘Undoing’ in Samuel Beckett’s Dramatic Texts (Bloomington: Indiana UP 1985; rep. Ann Arbor: UMI 1998), xviii, 221pp.
  • Richard Ellmann, Samuel Beckett: Nayman of Noland [lecture] (Library of Congress 1986), 31pp., rep. in Ellmann, Wilde, Yeats, Joyce and Beckett: Four Dubliners (Washington DC: Library of Congress 1986; London: Hamish Hamilton 1987), [q.p.].
  • Linda Ben-Zvi, Samuel Beckett (Boston: Twayne 1986).
  • Alec Reid, ‘Impact and Parable in Beckett: A First Encounter with Not I’, in Terence Brown & Nicholas Grene, eds., Hermethena: A Trinity College Review, CXLI (Winter 1986), pp.12-21.
  • Peter Gidal, Understanding Beckett: A Study of Monologue and Gesture in the Works of Samuel Beckett (London: Macmillan 1986).
  • Beckett at Eighty: A Celebration compiled and edited by James Knowlson [Souvenir programme of events for the Reading Festival of the Arts 9-17 May 1986] (Reading: The Beckett Archive 1986), vi, 26pp., ill. [ports.; ltd. edn. of 750 copies].
  • Enoch Brater, Beyond Minimalism: Beckett’s Later Style in the Theater (NY/Oxford: OUP 1987).
  • Katherine Barkman, Myth and Ritual in the Plays of Samuel Beckett (AUP 1987), 166pp.
  • Susan Schurman, The Solipsistic Novels of Samuel Beckett (Cologne: Paul Rugenstein 1987).
  • Jennifer Birkett, Samuel Beckett: Waiting for Godot (London: Macmillan 1987).
  • Jane Alison Hale, The Broken Window: Beckett’s Dramatic Perspective (Purdue UP 1987).
  • Susan D. Brienza, Samuel Beckett’s New Worlds: Style in Metafiction (Norman/London: Oklahoma UP 1987).
  • Paul Foster, Beckett and Zen: A Study of the Dilemma in the Novels of Samuel Beckett (London: Wisdom 1987), 295pp.
  • H. Porter Abbott [et al.], “Samuel Beckett on Stage and Page”, in Romance Studies [Special issue] (Swansea: University College of Swansea 1987), 95pp.
  • Ruby Cohn, From Desire to Godot: Pocket Theater of Postwar Paris (Berkeley: California UP 1987; London: Calder 1998), 204pp.
  • Steven Connor, Samuel Beckett: Repetition, Theory and Text (London: Basil Blackwell 1988).
  • Laura Barge, God, Quest, the Hero: Thematic Structures in Beckett’s Fiction (North Carolina UP 1988), 346pp.
  • Nicholas Zurbugg, Beckett and Proust (Gerrards Cross: Colin Smythe 1988).
  • Brian T. Fitch, Beckett and Babel: An Investigation into the Status of the Bilingual Work (Toronto UP 1988), 242pp.
  • Mary A. Doll, Beckett and Myth: An Archetypal Approach (Syracuse UP 1988; 1990), xiv, 206pp..
  • Sylvie Debevec Henning, Beckett’s Critical Complicity: Carnival, Contestation, and Tradition (Kentucky UP 1988), 228pp [see extract].
  • Dougald McMillan and Martha Fehsenfeld, Beckett in the Theatre: The Author as Practical Playwright and Director, Vol. I: FromWaiting for Godot’ toKrapp’s Last Tape’ (London: J. Calder; NY: Riverrun 1988).
  • Rosemary Pountney, Theatre of Shadows: Samuel Beckett’s Drama 1956-76 (Gerrards Cross: Colin Smythe 1988.
  • Totowa: Barnes & Noble 1988; rep. 1998), 310pp.
  • Hema V. Raghavan, Samuel Beckett: Rebels and Exiles in His Plays (Liverpool: Lucas 1988).
  • Valerie Topsfield, The Humour of Samuel Beckett (London: Macmillan 1988).
  • Jonathan Kalb, Beckett in Performance (Cambridge UP 1989).
  • Lawrence Graver, Waiting for Godot (Cambridge UP 1989, 2004), ix, 107pp.
  • Andrew K. Kennedy, Samuel Beckett (Cambridge UP 1989).
  • Enoch Brater, Why Beckett (London: Thames & Hudson 1989), rep. as The Essential Samuel Beckett: An Illustrated Biography (London: Thames & Hudson 2003), 144pp.
  • Paul Foster, Beckett and Zen (London: Wisdom 1989).
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    1990-99
  • Gordon Armstrong, Samuel Beckett, W. B. Yeats, and Jack Yeats: Images and Words (Lewisburg: Bucknell UP 1990).
  • Katherine Worth, ‘ Waiting for Godot’ and ‘Happy Days’ : Text and Performance (London: Macmillan 1990).
  • Thomas Cousineau, Waiting for Godot: Form in Movement (Boston: Twayne 1990).
  • Alan Astro, Understanding Samuel Beckett (Columbia: South Carolina UP 1990, rep. 1992), 222pp. [available at Google Books - online]
  • Leslie Hill, Beckett’s Fiction: In Different Words [Cambridge Studies in French] (Cambridge UP 1990), xii, 187pp.
  • Carla Locatelli, Unwording the World: Samuel Beckett’s Prose Works after the Nobel Prize (Pennsylvania UP 1990).
  • Shimon Levy, Samuel Beckett’s Self-Referential Drama (London: Macmillan 1990).
  • Christopher Ricks, Beckett’s Dying Words: The Clarendon Lectures (Oxford: Clarendon Press 1990).
  • David Watson, Paradox and Desire in Beckett’s Fiction (London: Macmillan 1990).
  • Thomas Trezise, Into the Breach: Samuel Beckett and the Ends of Literature (New Jersey: Princeton UP 1990).
  • P. J. Murphy, Reconstructing Beckett: Language for Being in Samuel Beckett’s Fiction (Toronto UP 1990).
  • Joseph H. Smith, Two Worlds of Samuel Beckett (Johns Hopkins UP 1991).
  • John P. Harrington, The Irish Beckett (Syracuse UP 1991), 215pp. [see extract].
  • François Bruzzo, Samuel Beckett (Paris: H. Veyrier 1991).
  • Torsten Ekbom, Samuel Beckett (Stockholm: Natur och Kultur 1991).
  • Gerhard Hauck, Reductionism in Drama and the Theatre: The Case of Samuel Beckett (Potomac: Scripta Humanistica 1992).
  • Marius Buning, Sjef Houppermans and Danièle de Ruyter-Tognotti, eds., Samuel Beckett 1970-1989 (Amsterdam/Atlanta: Rodopi 1992), 172pp.
  • Toyama, Jean Yamasaki, Beckett’s Game: Self and Language in the Trilogy [American university studies, ser. 2] (NY & London: Peter Lang [1992]), 129pp.
  • Kees Hessing, Beckett on Tape: Productions of Samuel Beckett’s Work in Film, Video, and Audio (Leiden: Academic Press 1992).
  • Sidney Homan, Filming Beckett’s Television Plays: A Director’s Experience (Lewisburg: Bucknell UP 1992).
  • Rubin Rabinovitz, Innovation in Samuel Beckett’s Fiction (Illinois UP 1992), 218pp.
  • Lawrence Miller, Samuel Beckett: The Expressive Dilemma (London: Macmillan; NY: St. Martin’s 1992), xv, 189pp.
  • Lance St. John Butler, ‘A Mythology with Which I am Perfectly Familiar: Samuel Beckett and the Absence of God’, in Irish Writers and Religion, ed. by Robert Welch (Gerrards Cross: Colin Smythe 1992), pp.169-84.
  • Robert Cochran, Samuel Beckett: A Study of the Short Fiction [Twayne, Studies in Short Fiction ser., 27] (Twayne Publ. 1992), q.pp.
  • Roy Clements, The Alternative Wisden on Samuel Barclay Beckett (Daripress 1992).
  • Angela Moorjani, The Aesthetics of Loss and Lessness (London: Macmillan 1992).
  • Gregory Johns, In the Dim Void: Samuel Beckett’s Late Trilogy (Kiddermaster: Crescent Moon 1993), 69pp. [concerns Company Illseen, Ill Said and Worstward Ho].
  • Eyal Amiran, Wandering and Home: Beckett’s Metaphysical Narrative (Pennsylvania State UP 1993).
  • Jeremy Robinson, Samuel Beckett Goes into Silence (Kiddermaster: Crescent Moon 1993), 120pp.
  • Anna McMullan, Theatre on Trial: Samuel Beckett’s Later Drama (NY/London: Routledge 1993), 155pp.
  • Arthur N. Athanason, Endgame: The Ashbin Play (NY: Twayne 1993).
  • S. E. Gontarski, ed., The Beckett Studies Reader (Florida UP [1993], 238pp., ill. [ports.].
  • Mary Bryden, Women in Samuel Beckett’s Prose and Drama: Her Own Other (London: Macmillan; Lanham: Barnes & Noble 1993).
  • Enoch Brater, The Drama in the Text: Beckett’s Later Fiction (NY/Oxford: OUP 1994), 233pp.
  • Paul Davies, The Ideal Real: Beckett’ s Fiction and Imagination (Rutherford, Madison & Teaneck; Farleigh Dickinson UP 1994), 270pp.
  • Gönül Pultar, Technique and Tradition in Beckett’s Trilogy of Novels (Lanham [Md.]: University Press of America [1996]), 177pp.
  • Marius Buning, Intertexts in Beckett’ s Work (Amsterdam/Atlanta: Rodopi 1994), 135pp.
  • Mary Junker, Beckett: The Irish Dimension (Dublin: Wolfhound 1995), 208pp. [see contents].
  • Billie Whitelaw, Billie Whitelaw ... Who He? (London: Hodder & Stoughton 1995).
  • Charles Juliet, Conversations with Samuel Beckett and Bram van Velde, trans. Janey Tucker, with intro. & notes by Adrian van der Weel & Ruud Hisgen (Leiden: Academic Press 1995) [first pub. in French as Rencontres avec Bram van Velde (Montpellier: Fata Morgana 1973; Aug. 1978) and afterwards as Rencontres avec Samuel Beckett (1986)].
  • Mel Gussow , Conversations with (and about) Beckett (London: Nick Hern 1996), 160pp. [Gussown, a NY critic, met Beckett annually from 1978- ].
  • James Knowlson, Damned to Fame: The Life of Samuel Beckett (London: Bloomsbury 1996), xxiv, 872 pp., ill. [32pp. of pls.]
  • Adam Piette, Mallarmé, Proust, Joyce, Beckett: Remembering and the Sounds of Words (OUP 1996).
  • John Minihan, Samuel Beckett, intro. Aidan Higgins (London: Secker & Warburg 1996), 96pp., ill..
  • Lois Gordon, The World of Samuel Beckett 1906-1945 (Yale UP 1996; rep. 1998), 250pp.
  • C[hris] J. Ackerley, Demented Particulars: The Annotated Murphy (Tallahassee, Fla.: Journal of Beckett Studies Books 1998), and Do. [new edn.] (Edinburgh UP 2010), 246pp.
  • H. Porter Abbott, Beckett Writing Beckett: The Author in the Autograph (Cornell UP 1996), xii, 192pp.
  • Richard Begam, Samuel Beckett and the End of Modernity (Stanford UP 1997), 237pp.
  • James Acheson, Samuel Beckett’s Artistic Theory and Practice: Criticism, Drama and Early Fiction (London: Macmillan 1997), 254pp.
  • John Pilling, Beckett Before Godot (Cambridge UP 1998), 277pp.
  • John P. Riquelme, ‘Location and Home in Beckett, Bhabha, Fanon, and Heidegger’, in Centennial Review, 42, 3 (1998), pp.541-68.
  • Mary Bryden, Samuel Beckett and the Idea of God (London: Macmillan 1998), 204pp.
  • J. D. O’Hara, Samuel Beckett’s Hidden Drives: Structural Uses of Deep Psychology (Florida UP 1998), 320pp.
  • Phil Baker, Beckett and the Mythology of Psychoanalysis (London: Macmillan 1998), 225pp.
  • Richard Begam, Samuel Beckett amd the End of Modernity (Stanford UP/Cambridge: CUP 1998), 237pp.
  • Cousineau, Thomas J., After the Final No: Samuel Beckett’s Trilogy (Delaware UP 1999), [q.pp.]
  • Scott Dale, The Intangible Iridescence of Samuel Beckett’s Proust [Working Papers in Irish
    Studies, 99-2] (Nova Southeastern University [1999]), 10pp. [29 cm.]
  • Daniel Katz, Saying I No More: Subjectivity and Consciousness in the Prose of Samuel Beckett (Northwestern UP 1999) [q.pp.].
  • Christopher Ricks, The Other Beckett: The Fiction and Poetry of Samuel Beckett [Beckett festival 1999] (London: BBC 1999) [80 mins. cassette].
  • Andrew Gibson, ‘Ethics of the Event: Beckett’ [chap.], in Postmodernity, Ethics and the Novel (London: Routledge 1999), 134-58 [incls. sects.: ‘Ethical saying: The Force of Interruption’: ‘Beckett’s Later Prose’; ‘Badiou and Beckett‘]
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    2000-
  • Paul Davies, Beckett and Eros: Death of Humanism (London: Macmillan; NY: St Martin’s s 2000), ix, 239pp. [see contents].
  • Jennifer Birkett and Ruth Ince, eds., Samuel Beckett (London: Routledge 2000), xi, 291pp. [see contents].
  • Darren Gribben, ‘Samuel Beckett and the Disembodied Irish Narrative Voice’ (MA Diplo in Anglo-Irish Literature, Univ. of Ulster 2000).
  • David Pattie, The Complete Critical Guide to Samuel Beckett (London: Routledge 2000; NY: Routledge 2001), 219pp. [with bibl., as infra.]
  • Herbert Blau, Sailing the Herring Fleet: Essays on Samuel Beckett (Michigan UP [2000]).
  • Alan Warren Friedman, ed., Beckett in Black and Red: The Translations for Nancy Cunard’s “Negro” [1934] (Kentucky UP 2000), xl, 207pp.
  • Marius Buning, Matthijs Engelberts, & Onno Kosters, eds., Beckett and Religion: Beckett [Samuel Beckett today/aujourd’hui ser., No. 9; Conferences at Stirling, 1999 and Sussex, 1997 (Amsterdam : Rodopi 2000), 331pp. [See contents]
  • Anthony Uhlmann, Beckett and Poststructuralism (Cambridge UP 2000), x, 202pp. [see contents].
  • Anne Atik, How It Was: A Memoir of Samuel Beckett (London: Faber & Faber 2001), 129pp., ill. [26 cm.; French trans. 2003, as infra].
  • John Calder, The Philosophy of Samuel Beckett (London: Calder Publs. 2001; pb. 2002), 152pp. [see extracts].
  • David Bradby, Waiting For Godot (Cambridge UP 2001), xii, 255pp.
  • Ronan McDonald, Tragedy and Irish Literature: Synge, O’Casey, Beckett (London: Palgrave 2002), 214pp.
  • John Haynes & James Knowlson, Images of Beckett (Cambridge UP 2003), 174pp. [75 pls.; photos of works in production by Haynes; commentary by Knowlson].
  • John Fletcher, About Beckett [About the Playwrights & Their Works Ser.] (London: Faber & Faber 2003, 2006), 256pp.
  • John Harrington, ‘Samuel Beckett and the Countertradition’, in The Cambridge Companion to Twentieth-century Irish Drama, ed. Shaun Richards (Cambridge UP 2003) [Chap. 12].
  • S. E. Gontarski, ‘Beckett and Performance’, in Journal of Irish Studies [IASIL-Japan], XVII (2002), pp.89-97.
  • John Fletcher, Samuel Beckett: Waiting for Godot, Krapp’s Last Tape, Endgame (London: Faber & Faber 2000), 256pp.
  • Lois Gordon, Reading Godot (Yale UP 2002), 214pp.
  • John Robert Keller, Samuel Beckett and the Primacy of Love, with a foreword by Lance St. John Butler (Manchester UP 2002), 240pp.
  • Paul Davies, ‘Beckett after 1960: A Post-Humanist Context’, in Irish Fiction since the 1960s: A Collection of Critical Essays, ed. Elmer Kennedy-Andrews (Dublin: Four Courts Press 2002) [Chap. 7]
  • James H. Reid, Proust, Beckett, and Narration (Cambridge UP 2003), viii, 195pp.
  • Daniel Albright, Beckett and Aesthetics (Cambridge UP 2003), vii, 179pp., ill. [see contents].
  • Alberto Toscano & Nina Power, eds., Alain Badiou on Beckett [Dissymetries ser.] (Manchester: Clinamen 2003), xxxvi, 164pp.
  • Anne Atik, Comment c’était: souvenirs sur Samuel Beckett, avec quatre portraits d’Avigdor Arikha, traduit de l’anglais par Emmanuel Moses ([France]: L’Olivier 2003), 169pp. [orig. in English, as supra].
  • C. J. Ackerley & S.E. Gontarski, eds., The Faber Companion to Samuel Beckett: A Reader’s Guide to his Works, Life, and Thought (London: Faber & Faber 2004), 736pp.
  • Dirk Van Hulle, Joyce & Beckett: Discovering Dante (Dublin: NLI 2004), 43pp.
  • Anthony Uhlmann, Sjef Houppermans & Bruno Clément, eds., After Beckett / D’après Beckett [Conference at University of Western Sydney, Jan. 2003; in Samuel Beckett Today/aujourd’hui ser., No. 14] (Amsterdam: Rodopi Press 2004), 624pp.
  • Seán Lennon, Godot go Deo: Waiting in Beckett’s Dublin (Fingal Co. Libraries), 85pp. [humour].
  • Ruby Cohn, Beckett Canon [Theater - Theory/text/performance Ser.] (Michigan UP 2005), xii, 420pp.
  • Ronan, McDonald, Samuel Beckett: The Life and the Work [ed. advisor, Declan Kiberd] (Dublin: Stationary Office 2005), [8]pp.
  • Alan Gillis, Irish Poetry of the 1930s (Oxford: OUP 2005), viii, 228pp. [espec. Chap. 4. ‘Denis Devlin, Brian Coffey, and Samuel Beckett: Across the Tempest of Emblems’].
  • Shane Weller. A Taste for the Negative: Beckett and Nihilism (London: Legenda 2005), xii, 212pp.
  • James & Elizabeth Knowlson, eds., Beckett Remembering, Remembering Beckett: A Centenary Celebration: Uncollected Interviews with Samuel Beckett and Memories of Those Who Knew Him (London: Bloomsbury; NY: Arcade 2006; Penguin Group 2007), xx, 313pp.
  • Elizabeth Barry, Beckett and Authority: The Uses of Cliché (Basingstoke: Palgrave Macmillan 2006), x, 232pp.
  • Andrew Gibson, Beckett and Badiou: The Pathos of Intermittency (Oxford: OUP 2006),xiii, 322pp. [viz., Alain Badiou].
  • Eric Migernier, Beckett and French Theory: The Narration of Transgression NY: Peter Lang [2006]), 144pp.
  • Shane Weller, Beckett, Literature, and the Ethics of Alterity (Basingstoke: Palgrave Macmillan 2006), ix, 218pp.
  • Fionnuala Croke, ed., Beckett: A Passion for Paintings [Cat. of Exhib., June-Sept. 2006] (Dublin: National Gallery of Ireland 2006), 104pp.
  • Pascale Casanova, Samuel Beckett: Anatomy of a Literary Revolution [from French] (London: Verso 2006), 119pp.
  • John Minihan, Samuel Beckett: Centenary Shadows (London: Robert Hale 2006), 124pp. [photo-ports]
  • Anthony Uhlmann, Samuel Beckett and the Philosophical Image (Cambridge UP 2006), viii, 191 [see contents].
  • Seán Lennon, Godot go Deo: Waiting in Beckett’s Dublin (Fingal Co. Libraries [2006]), 85pp. [humour].
  • Ben Levitas & Richard Cave, Irish Theatre in Britain [Irish Theatre in the Diaspora, 2] (Dublin: Carysfort Press 2007), 200pp. [incl. Graham Sanders on Beckett’s Film];
  • Eric P. Levy, Trapped in Thought: A Study of the Beckettian Mentality (NY: Syracuse University Press 2007), x, 248pp. [see contents].
  • Brigitte le Jeuz, Beckett Before Beckett (London: Souvenir Press 2008), 91pp. [prev. as Beckett avant la lettre (2007)].
  • Paul Lawley, Waiting for Godot [Character Studies] (London: Continuum 2008), 144pp.
  • Kevin Branagan, Radio Beckett: Musicality in the Radio Plays of Samuel Beckett (Oxford: Peter Lang 2008), 268pp. [prev. NUI Maynooth PhD].
  • Matthew Feldman, Beckett’s Books: A Cultural History of the Interwar Notes (London: Continuum 2009), 192pp.
  • Emilie Morin, Samuel Beckett and the Problem of Irishness (London: Palgrave Macmillan 2009), xii, 224pp. [see contents].
  • Kathryn [Nan Sharon] White, Beckett and Decay (London: Continuum 2009), ix, 197pp. [see contents].
  • Peter Boxall, Since Beckett; Contemporary Writing in the Wake of Modernism (London: Continuum 2009), 192pp.
  • Mark & Juliette Taylor-Batty, Samuel Beckett’s “Waiting for Godot” (London: Continuum 2009), 128pp.
  • Matthew Feldman & Mark Nixon, The International Reception of Samuel Beckett (London: Continuum 2009), 416pp.
  • Timothy O’Leary, Foucault and Fiction: The Experience Book (London: Continuum 2009), 192pp. [incls. analysis of studies of Beckett].
  • Stephen Watt, Beckett and Contemporary Irish Writing (Cambridge UP 2009), viii, 226pp. [see contents].
  • Patrick Bixby, Samuel Beckett and the Postcolonial Novel (Cambridge UP 2009), viii, 238pp., ill. [reviewed by Feargal Whelan in Journal of Beckett Studies, Sept. 2013].
  • Chris Ackerley, Obscure Locks, Simple Keys: The Annotated Watt (Edinburgh UP 2010), 296pp.
  • [...]
  • Dirk van Hulle & Mark Nixon, Beckett’s Library (Cambridge UP 2013), xvii, 311pp.[SB’s library of 750 vols.; chaps.: Beckett as a reader; Literature in English; Literature in French; Literature in German; Literature in Italian; Classics and other literatures; Philosophy; Religion; Dictionaries; Science; Music and art.]
  • Anthony Uhlmann, ed., Lois More Overbeck, ‘Letters’, in Samuel Beckett in Context (Cambridge UP 2013), pp.456 [Landscape & Formation: Russell Smith, John Pilling, S. E. Gontarski, Antholy Cordingley, Jean-Michel Rabaté. Social & Political Contexts: Patrick Bixby, Garin Dowd, Peter Marks, Mark Nixon, Julian Murphet, Milieus and Movements: Paul Sheehan, Sam Slote, Shane Weller, Uhlmann, Ulrike Maude, Graley Herren. The Humanities I Had: Literature: Sean Kennedy, Mark Byron, Angela Moorjani, Daniela Caselli. The Humanities I Had: Arts: Nico Israel, Catherine Laws, Matthijs Engelberts, Jane Goodall. The Humanities I Had - Belief: Matthew Feldman, Laura Salisbury, Chris Ackerley, Minako Okamuro, Hugh Culik. Language & Form: Daniel Katz, Corinne Scheiner, Enoch Brater. ].
  • [...]
  • Jennifer Birkett, Undoing Time: The Life and Work of Samuel Beckett (Kildare: Irish Academic Press 2015), xii, 226pp.

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