Samuel Beckett: Works


Plays & Dramatic Pieces
Short Fiction and Novels
Poetry collections
Critical Writings
Notebooks, MSS, &c.
Correspondence
Media (Film, TV, Audio)

Full text of Endgame (1958) in RICORSO Library, “Irish Classics”, infra.

See Beckett on YouTube rehearsing “What Where” - online.
Hear Samuel Beckett reading poems from Watt in 1965 - online

Notebooks
1. The Watt Notebooks held at the Harry Ransom Humanities Research Centre of Texas University consists of 945 pages spanning six notebooks and loose sheets, written in ink and colored crayons between 1940 and 1945, and features a wealth of doodles, sketches, mathematical calculations, rhyming schemes, and drawings. [Samuel Beckett Centenary Exhibition - online; accessed 18.11.2013].
2. Six notebooks amounting to 700 MS pages, with notes and doodles including sketches of the eponymous character Murphy and an off-hand caricature of James Joyce, were purchased by Reading University for the Beckett Centre for £962,500. The Notebooks - which were originally given to Brian Coffey, who sold them to a bookseller - were displayed in June 2014. [See Guardian interview-article with John Piling of the Beckett Centre, Reading U. - online or extract, as attached; accessed 09.06.2010.)

Beckett interpretations on Youtube ...
Breath (National Th. School of Canada) online
Come and Go (adapt. Maryjane Hampton (Rhode Isl.) online
Endgame (Rick Cluchey as Hamm) online
Endgame
(Alan Mandell as Nagg) online
Footfalls
(Billie Whitelaw as May) online
Happy Days (with Fiona Shaw as Winnie) online
Happy Days (Fiona Shaw in interview) online
Krapp’s Last Tape (with Rick Cluchey) online
Not I (Billie Whitelaw version) online
Readings in extract
Watt (read by Jack Emery - excerpt) online
Malone Dies
(read by Jack Emery - excerpt) online
Molloy (read by Jack MacGowran - excerpt) online
Unnamable (read by Jack Emery - excerpt) online
[...]
Sundry Beckett clips
Images of Beckett (assembled photo-ports) online
Theodor Adorno on Beckett (in German) online
 
Note: all the foregoing accessible at 30.11.2010.

In March 1965 Lawrence Harvey recorded Beckett reading two poems from the Appendix of Watt in Paris when Beckett was awaiting surgery on his palate. In spite of some raspings of the little microphone, the recording catches Beckett’s voice with great precision. The sibilance of his Irish “t’s” at the end of words is particularly noticeable - together with the generally soft tone of voice and some educated vowels - all in all, a very Irish middle-class Irish voice. The 4-min. recording, held in the Baker Library of Dartmouth, was published on internet in Open Culture (27 March 2013) - available online [accessed 05.10.2014].

Open Culture (27 March 2013) - online; link received
from Sam McCreedy via Facebook [10.10.2014.]


Grove Centenary Collected Works

Paul Auster, ed., Samuel Beckett: The Grove Centenary Edition, with introductions by Colm Tóibín, Salman Rushdie, Edward Albee, and J.M. Coetzee, 4 vols. (NY: Grove Press 2006), 2,077pp. [$100; 24 cm].

 
  • Vol. 1: Novels, introduced by Colm Tóibín (NY: Grove Press 2006), xvi, 478pp.
  • Vol. 2: Novels, introduced by Salman Rushdie (NY: Grove Press 2006), xiv, 521pp.
  • Vol. 3: Dramatic Works, introduced by Edward Albee (NY: Grove Press 2006), x, 509pp.
  • Vol. 4: Poems, Short fiction, Criticism, introduced by J.M. Coetzee ((NT: Grove Press 2006), xiv, 569pp.

Plays and Dramatic Pieces
First performances (drama)
  • Waiting for Godot (Paris 1953; London Arts Theatre, 1955; [simultaneously] Dublin, Pike Theatre 1955; Miami 1956);
  • All that Fall [for radio] (BBC 1957);
  • Endgame (London 1957, in French; NY and London 1958, in English);
  • Act Without Words I (London 1957);
  • Act Without Words II (pub. 1959; performed London 1960);
  • Krapp’s Last Tape (London 1958);
  • Embers (BBC 1959) [provisional title “Ebb”];
  • Happy Days (NY 1961; London 1962);
  • Words and Music [for radio] (BBC 1962);
  • Cascando [for radio] (Paris 1963; London 1964);
  • Play (Ulm 1963, in German; London 1964);
  • Ping (1967); Come and Go (Berlin 1966, in German; Dublin and London 1968) [called a dramaticule, English 1965, drafted as Good Heavens, ded. Calder];
  • Eh Joe [for TV] (Suddeutscher Rundfunk 1966, in German; BBC 1966);
  • Breath (NY and Glasgow 1969);
  • Lessness (1970) [written as Sans (1967) - BBC reading];
  • Not I (NY 1972; London Jan. 1973;
  • “Auditor” taken out of 1975 French production but given greater prominence in 1978 production];
  • That Time (London 1976 with Patrick Magee];
  • Footfalls (London 1976);
  • Ghost Trio [for TV] (pub. 1976; BBC 1977);
  • ... but the clouds ... [for TV] (BBC 1977);
  • A Piece of Monologue (NY 1979; Edinburgh 1984);
  • Company (1980) [written May 1977-Aug 1979];
  • Rockaby (Buffalo 1981; London 1982);
  • Ohio Impromptu (Columbus 1981; Edinburgh 1984);
  • Quad [TV mime] (Suddeutscher Rundfunk 1981; BBC 1982);
  • Catastrophe (Avignon 1982, in French; Paris 1982, in French; Edinburgh 1984);
  • Nacht und Traume [TV mime] (Suddeutscher Rundfunk 1983);
  • What Where (Graz 1983, in German; Edinburgh 1984).
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Individual editions (drama)
  • En Attendant Godot (Paris: Editions de minuit 1952), English trans. by Beckett as Waiting for Godot, A Tragicomedy in Two Acts (NY: Grove 1954; London: Faber 1956; rep. 1961);
  • Nine Dramatic Pieces (NY: Grove 1954);
  • All that Fall [radio play] (London: Faber 1957; NY: Grove 1960), French trans. by Beckett as Tous ceux qui tombent (Paris: Editions de minuit 1957);
  • Fin de Partie suivi de Acte sans Paroles I (Paris: Editions de minuit 1957), 124pp., English trans. by Beckett as Endgame, a Play in One Act, followed by Act Without Words I, a Mime (NY: Grove 1958; London: Faber 1958; rep. 1968), and Do., French original ed. Beryl S. Fletcher & John Fletcher (London: Methuen 1970);
  • Krapp’s Last Tape (London: Faber 1959; NY: Grove 1960), French trans. by Beckett & Pierre Leyris as La Dernière Bande (Paris: Editions de minuit 1959);
  • Krapp’s Last Tape and Embers (London: Faber 1958; rep. 1959; 1965; 1968), 39pp.;
  • Embers (London: Faber 1959), rep. in Krapp’s Last Tape and Other Dramatic Pieces (NY: Grove 1960);
  • Happy Days (NY: Grove 1961), Do. (London: Faber 1962; rep. 1966; 1968), 48pp., Do., French trans. by Beckett as Oh les beaux jours (Paris: Editions de minuit 1963), and Do. [bilingual edition], ed., James Knowlson (London: Faber 1978);
  • Words and Music, in Play and Two Short Pieces for Radio (London: Faber 1964), rep. in Cascando and Other Short Dramatic Pieces (NY: Grove 1969), French trans. by Beckett as Paroles et Musique, in Comédie et Actes Divers (Paris: Editions de minuit 1966; rep. 1972; 1990);
  • Play and Two Short Pieces for Radio (London: Faber 1964; rep. 1968; 1969); Acte sans Paroles II, in Dramatische Dichtungen, Band I (Frankfurt: Suhrkamp Verlag 1963); rep. in Comédie et Actes Divers (Paris: Editions de minuit 1966; rep. 1972; 1990), English trans. by Beckett as Act Without Words II, rep. in Eh Joe and Other Writings (London: Faber 1967);
  • Film in Cascando and Other Short Dramatic Pieces (NY: Grove 1969); rep. in Eh Joe and Other Writings (London: Faber 1967);
  • Assez (Paris: Editions de minuit 1966), rep. in TÍtes-Mortes (Paris: Editions de minuit 1967), English trans. by Beckett as “Enough” in First Love and Other Shorts (NY: Grove 1974);
  • Eh Joe and Other Writings (London: Faber 1967) [“Eh Joe”, “Act Without Words II”, “Enough”, “Ping”, and “Film]; Cascando in Comédie et Actes divers (Paris: Editions de minuit 1966; rep. 1972; 1990), and Do., trans. by Beckett as Cascando, in Play and Two Short Pieces for Radio (London: Faber 1964), rep. in Cascando and Other Short Dramatic Pieces (NY: Grove 1969);
  • Not I (London: Faber 1973), 16pp., rep. in First Love and Other Shorts (NY: Grove 1974);
  • Footfall (London: Faber 1976), 12pp.;
  • That Time (London: Faber 1976), 16pp.;
  • Ends and Odds (NY: Grove 1976) [“That Time”, “Not I”, “Footfalls”, “Radio I”, “Radio II”, “Theatre I”, “Theatre II and “Tryst];
  • Rockaby and Other Short Pieces (NY: Grove 1981) [“Rockabye”, “Ohio Improptu”, “All Strange Away”, “A Piece of Monologue];
  • Eleutheria (Paris: Editions de minuit 1995), English trans. by Michael Brodsky as Eleutheria: A Play in 3 Acts (NY: Foxrock 1995), 196pp., Do. (London: Faber 1996), 170pp.;

Also trans. Robert Pinget, La Manivelle [The Old Tune], play, with translation by Beckett (Paris: Editions de minuit 1960), 62pp.

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Compilation editions (drama)
  • Eh Joe and Other Writings (London: Faber 1967) [“Eh Joe”, “Act Without Words II”, “Enough”, “Ping”, and “Film”];
  • Comédie et actes divers (Paris: Editions de minuit 1966; rep. 1972; 1990), 133 pp. [“Comédie”, “Va-et-vient”, “Cascando”, “Paroles et musique”, “Dis Joe”, “Actes sans paroles - I et II”, “Film”, “Souffle]”;
  • Three Occasional Pieces (London: Faber 1982), 32pp. [“Monologue”, “Rockaby”, “Ohio Impromptu”, “Footfall”, Not I”, “Ends and Odds”].
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Collected Editions (drama)
  • The Complete Dramatic Works (London: Faber & Faber 1986; 1990, &c.), 476pp. [contents];
  • Collected Shorter Plays (NY: Grove 1984; London: Faber 1984; rep. 1999), 316pp. [contents].
  • Paul Auster, ed., Samuel Beckett: The Grove Centenary Edition, with introductions by Colm Tóibín, Salman Rushdie, Edward Albee, and J.M. Coetzee, 4 vols. (NY: Grove Press 2006), 2,077pp. [contents].
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Short Fiction & Novels
Shorter Fiction
  • More Pricks than Kicks (London: Chatto & Windus 1934); Do., special typescript facs., edn. ‘Hors Commerce for Scholars’ (London: Calder & Boyars 1966; 1967; 1970), 107pp.; Do. [in Collected Works of Samuel Beckett] (NY: Grove 1970), 190pp.; Do., new edn. (London: Picador 1974; 1977);
  • Premier Amour [written 1946] (Paris: Editions de minuit 1970), English trans. by Beckett as First Love (London: Calder & Boyers 1973; rep. London: Calder 1999); Do. [another edn.], preface by Christopher Ricks (London: Syrens [Penguin] 1994), v-viii, 35pp.; and Do., rep. in First Love and Other Shorts (NY: Grove 1974);
  • Nouvelles et Textes pour Rien (Paris: Editions de minuit 1955), English trans. by Beckett as Stories and Texts for Nothing (NY: Grove 1967), collected ed. under title of No’s Knife (London: Calder & Boyars 1967; 1975) [with English translations of parts in No’s Knife];
  • From an Abandoned Work (London: Faber 1958), 22pp.; rep. in Krapp’s Last Tape and Other Dramatic Pieces (London: Faber 1959; NY: Grove 1960), and in First Love and Other Shorts (NY: Grove 1974; and in First Love and Other Novellas, ed. Gerry Dukes (Harmondsworth: Penguin 1999; 2000);
  • Comment c’est (Paris: Editions de minuit 1961), translated by Beckett as How It Is (NY: Grove 1964; London: Calder & Boyars 1964; rep. London: Calder 1996), 160pp.;
  • Imagination morte imaginez (Paris: Editions de minuit 1965), English trans. by Beckett as Imagination Dead Imagine (London: Calder & Boyars 1966); Do., rep in First Love and Other Shorts (NY: Grove 1974);
  • Bing (Paris: Editions de minuit 1966), English trans. by Beckett as Ping (London: Calder & Boyars 1967), rep. in First Love and Other Shorts (NY: Grove 1974), and Do. [rep. as First Love and Other Novellas, ed. Gerry Dukes (Harmondsworth: Penguin, 1999];
  • Têtes Mortes (Paris: Editions de minuit 1967), 66pp.; No’s Knife: Collected Shorter Prose, 1945-1966 (London: Calder & Boyars 1967);
  • Sans (Paris: Editions de minuit 1969), English trans. by Beckett as Lessness (London: Calder & Boyars 1970); Le Dépeupleur (Paris: Editions de minuit 1970), English trans. by Beckett as The Lost Ones (NY: Grove 1972; London: Calder & Boyar 1972);
  • Breath and Other Stories (London: Faber 1971), 48pp.;
  • First Love and Other Shorts (NY: Grove 1974);
  • Fizzles (NY: Grove 1976);
  • For to End Yet, and Other Fizzles (London: Faber 1977);
  • Four Novellas (London: Calder 1977);
  • Companie (Paris: Editions de minuit 1979), English trans. by Beckett as Company (NY: Grove; London: Calder 1980), rep. as Samuel Beckett’s “Company/Companie”, and “A Piece of Monologue/Solo”: A Bilingual Variorum Edition, ed. Charles Krance (NY/London: Garland 1993);
  • Collected Shorter Prose 1945-1980 (London: Calder 1984) [“First Love”, “The Expelled”, “The Calmative”, “The End”, “Texts for Nothing”, “From an Abandoned Work”, and “Head in the Dark 2” - being a paragraph from “Company”, here pp.205-07];
  • Worstward Ho (NY: Grove London: Calder 1983), 47pp. [rep. 1999];
  • Stirrings Still (NY: Blue Moon; London: Calder 1988), lim. edn.
  • Echo’s Bones, ed. by Mark Nixon (London: Faber & Faber 2014), xxii, 121pp. [see under Notes - infra.]
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Novels
  • Murphy (London: Routledge 1938); Do. [another edn.] (NY: Grove 1957); Do. [Jupiter Edn.] (London: Calder & Boyars 1963); Do. [another edn.] (London: Picador [Pan Books] 1973); Do. [another edn.] (London: Calder 1993), and. Do., trans. into. French trans. by Beckett & Alfred Péron, as Murphy (Paris: Bordas 1947; rep. Paris: Editions de minuit 1953).
  • Molloy (Paris: Editions de minuit 1950, 1970, &c.), 272pp.; English trans. by Beckett & Patrick Bowles (Paris: Merlin/Olympia 1955), 241pp.; Do. (NY: Grove 1955), 241pp., and Do. [another edn.] (London: Calder 1993);
  • Malone Meurt (Paris: Editions de minuit 1951), 217pp.; Do., in English trans. by Beckett as Malone Dies: A Novel translated by the Author (NY: Grove Press 1956), 120pp., and Do. (London: Calder & Boyars [1956], 1958), 120pp.;
  • l’Innommable (Paris: Editions de minuit 1953), 212pp., and Do., in English trans. by Beckett as The Unnamable (NY: Grove 1958);
  • Watt (Paris: Merlin/Olympia 1953; NY: Grove 1959; London: Calder & Boyars 1961; rep. 1998), and Do., trans. into French by Agnès & Ludovic Janvier as Watt (Paris: Editions de minuit 1968), 272pp.;
  • Comment c’est (Paris: Editions de minuit 1961), and Do., trans. by Beckett as How It Is (London: Calder & Boyars; NY: Grove Press 1964) [var. 1966];
  • Mercier et Camier (Paris: Editions de minuit 1970), English trans. by Beckett as Mercier and Camier (NY: Grove; London: Calder & Boyars 1974; rep. Calder 1999);
  • Eoin O’Brien & Edith Fournier, eds., Dream of Fair to Middling Women (Monkstown [Dublin]: Black Cat Press 1992), xvii, 241pp., and Do. (London/Paris: Calder; NY: Riverrun 1992) [written 1932; withdrawn in London due to legal action; 327 copies issued in Paris].

Also, Paul Auster, ed., The Novels of Samuel Beckett, 2 vols. [Grove Press Centenary Edn.] (NY: Grove Press 2006) [US hb.].

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Compilations
  • Molloy, Malone Dies, and The Unnamable, trans. [in English] by Patrick Bowles & Beckett [Travellers Companion Series, No. 71] (Paris: Olympia 1959), 479pp.; Do. (London: Calder & Boyars 1959; rep. 1973), 418pp.; Do., as The Beckett Trilogy: Molloy - Malone Dies - The Unnamable (Paris: Olympia Press 1959), pp.579, and Do. (London: Calder 1959, 1976), 418pp.; Do [rep. edn.] (London: Picador [Pan Books] 1979, 1995, &c.), 382pp. [details];
  • Four Novellas (London: Calder 1977), 95pp. [ 1. First Love; 2.The Expelled; 3.The Calmative; 4.The End];
  • As The Story was Told: Uncollected & Late Prose (Cambridge: Rampant Lions 1987), Do. (NY: Riverrun 1990; London: Calder 1990; rep. 1999);
  • Nohow On (London: Calder 1989) [1. “Company”; 2. “Ill Seen Ill Said”; 3. “Worstward Ho!”], rep. as Nohow On: Three Novels, intro. S. E. Gontarski (NY: Grove Press 1996), xxviii, 116pp.;
  • Samuel Beckett: The Complete Short Prose, 1929-1989, ed., & intro. E. Gontarski [with notes] (NY: Grove Press [1995]), xxxii, 294pp. [contents].
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Miscellaneous prose
  • “Che Sciagura”, in TCD Miscellany (14 Nov. 1929), p.42 [i.e., “What a misfortune” - viz, castration in its Dantean context]
  • “The Possessed”, in TCD Miscellany (12 March 1931), p.138.
  • “Opening Section of Molloy”, in Fifth Mentor Selection (NY: New American Library 1954), 337pp. [with work by Sean O’Faolain, Niall Montgomery and Maurice Meldon].

See also “The Capital of the Ruins” [1946] - written for broadcast on Radio Eireann but rejected and printed as “Saint-Lô” in The Irish Times (24 June 1946) [copy held in RICORSO Library - as attached].

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Poetry collections
  • Whoroscope (Paris: Hours 1930);
  • Echo’s Bone’s and Other Precipitates (Paris: Europa [George Reavey] 1935), [30]pp.;
  • Poems in English (London: Calder & Boyars 1961);
  • Collected Poems in English and French (London: Calder 1977; rep. as Collected Poems 1930-1978 London: Calder 1984);
  • Zone, by Apollinaire, with English trans. by Samuel Beckett (Dublin: Dolmen 1972), 23pp.;
  • Eleutheria, trans. by Barbara Wright [1st edn. France 1995] (London: Faber 1996), 176pp.
Collected Poems
  • Collected Poems in English and French (London: John Calder; NY: Grove Press 1977) [Whoroscope (1930); Gnome (1934); Home Olga (1934); Ooftish (1938); last three poems first publ. here; poems in French first pub. as Gedichte by Limes Verlag Wiesbaden, 1959 and Edition de Minuet as Poèmes, 1968].
Collected Poems (Calder, Grove 1977
  • Seán Lawlor & John Pilling, eds., Collected Poems of Samuel Beckett: A Critical Edition (London: Faber & Faber 2012), 499pp. [in mem. Seán Lawlor; Introduction, pp.xv-xx; Commentary, 255ff.; Index, 491ff.; also Appendix, pp.233-251, which incls. “Whoroscope” & Notes to same, pp.241-44.]
Translations:
  • Drunken Boat, translation of Arthur Rimbaud's poem &q~147;Le bateau ivre”, ed. & intro. by James Knowlson and Felix Leakey (Reading: Whiteknights Press 1976), 33pp.  
Miscellaneous
  • The European Caravan - An Anthology of the New Spirit in European Literature - Part I: France, Spain, England and Ireland, ed. George Reavey, et al. (NY: Brewer, Warren & Putnam 1931), [contains 4 poems by Beckett: “Hell Crane to Starling”, “Casket of Pralinen for the Daughter of a Dissipated Mandarin”, “Text” and “Yoke of Liberty” [see further under Reavey, q.v.]
  • Beyond the Shore - The Irish Within Us - Irish Poetry, intro. by Peter Mulligan (Northampton Connolly Association 1985), 80pp., large 8°[850 copies; contribs. from Eddie Linden, Roger McGough, Ewart Milne and Samuel Beckett; glossy card covers; advert. by David Bunnett Books, London ‘ Abebooks [online; 02.09.2010.]
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Limited Editions
  • Poème [‘je voudrais que mon amour meure'], MS engraved in four colours and signed by Stanley Hetyer [q.d.; ltd. 50 copies];
  • Pour finir encore (Paris: Editions de minuit 1976 [ltd. edn. 100 copies];
  • Poems 1930-1989, with Previously Unpublished Poems and Translations (London: Calder Publ. 2002), 226pp. [ltd. edn. 100 copies with lithographs by Louis le Brocquy; bound by Gerard Kenny; €650 each copy.]
 
Collections
  • Beginning to End: Selection from the Works of Samuel Beckett, adapted by Beckett & Jack MacGowran (NY: Gotham Book Mart 1968) [ltd. edn. 300 copies];
  • A Samuel Beckett Reader, ed., John Calder (London: Calder & Boyars 1967), 192pp.;
  • The Collected Works of Samuel Beckett, 19 vols. (NY: Grove 1970) [contents];
  • ‘I Can’t Go On, I’ll Go On’: A Selection from Samuel Beckett’s Work, ed. Richard Seaver (NY: Grove 1976).
  • Gerry Dukes, ed., First Love and Other Novellas [Penguin Modern Classics] (London: Penguin 2000), 192pp.
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Criticism
  • ‘Dante ... Bruno. Vico .. Joyce’, Our Exagmination Round His Factification for Incamination of Work in Progress (Paris: Shakespeare & Co. 1929), 194pp. [‘96 copies of this book have been printed on vergé d’Arches numbered 1-96’; Beckett’s essay, pp.[3]-22]; Do. (London: Faber & Faber 1936), rep., with an Introduction by Sylvia Beach (Faber 1961, 1972); and Do. (NY: New Directions 1939, 1962), 194pp. [see contents];
  • Proust (London: Chatto & Windus 1931; NY: Grove 1957); published ‘Text’, in The New Review 11, 5 (April 1932), p.57 [a poem based on plays of John Ford, et al.];
  • with Hans Arp, et al., Manifesto: Poetry is Vertical [orig. in transition, March 1932], rep. in Collected Poems of Thomas MacGreevy, ed. Thomas Redshaw Dillon, (Dublin: New Writers' Press 1971), p.73-74.
  • [as Andrew Belis,] ‘Recent Irish Poetry’, in Bookman, 86 (August 1934), and Do., rep. in Michael Smith, ed., The Lace Curtain 4 (Summer 1971), pp.58-63;
  • ‘Humanistic Quietism’ [review of Thomas MacGreevy's Poems], in Dublin Magazine ([q.d.] 1934), rep. in Collected Poems of Thomas MacGreevy, ed. Thomas Redshaw Dillon, (Dublin: New Writers' Press 1971), pp.11-13.
  • Review of Thomas MacGreevy’s Jack B. Yeats: An Appreciation, in Irish Times (4 Aug. 1945) [see copy, attached].
  • ‘Three Dialogues with Georges Duthuit’, in transition forty-nine 5 (December 1949), pp.97-103, rep. in Ruby Cohn, ed., Disjecta: Miscellaneous Writings and a Dramatic Fragment (London: Calder 1983; rep. 1986), pp.138-45 [see under Notes, infra]; Do. (NY: Grove 1984);
  • ‘Censorship in the Saorstat’ [commissioned by The Bookman 1935; publ. 1983], rep. in Disjecta [... &c.], ed. Ruby Cohn (London: Calder 1983), pp.84-88, and rep. in Banned in Ireland: Censorship and the Irish Writer, ed. Julia Carlson (London: Routledge 1990);
  • Beckett’s Dream Notebook, ed. John Pilling (Reading: Beckett International Foundation 1999), xxiii, 173pp.
  • Stirrings Still, a last prose work, printed in The Guardian (Friday, 3 March 1989), p.25.
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Our Exagmination Round His Factification for Incamination of Work in Progress, by Samuel Beckett, Marcel Brion, Frank Budgen, Stuart Gilbert, Eugene Joas, Victor Llona, Robert McAlmon, Thomas McGreevy, Elliot Paul, John Rodker, Robert Sage, William Carlos Williams. / with / Letters of Protest / by / G. V. L. Slingsby and Vladimir Dixon. [ed. Samuel Beckett] (London: Faber & Faber 1929), 194pp.

Contributors:

  • Samuel Beckett (‘Dante... Bruno. Vico.. Joyce’) [1]
  • Marcel Brion (‘The Idea of Time in the Work of James Joyce’) [23]
  • Frank Budgen (‘James Joyce’s Work in Progress and Old Norse Poetry’) [35]
  • Stuart Gilbert (‘Prolegomena to Work in Progress’) [47]
  • Eugene Jolas (‘The Revolution of Language and James Joyce’) [77]
  • Victor Llona (‘I Dont Know What to Call It but Its Mighty Unlikely Prose’) [93]
  • Robert McAlmon (‘Mr. Joyce Directs and Irish Word Ballet’) [103]
  • Thomas MacGreevy (‘The Catholic Element in Work in Progress’) [117]
  • Elliot Paul (‘Mr. Joyce’s Treatment of Plot’) [129]
  • John Rodker (‘Joyce and His Dynamic’) [139]
  • Robert Sage (‘Before Ulysses - and After’) [147]
  • William Carlos Williams (‘A Point for American Criticism’) [171]
Two Letters of Protest
  • G. V. L. Slingsby (‘Writes a Common Reader’) [189]
  • Vladimir Dixon (‘A Litter to Mr. James Joyce’) [193]
 
Note: 1961 edition includes an Introduction by Sylvia Beach (pp.[vii]-viii). The title page of Beckett's piece forms p.[1] with blank verso, while the first page forms p.[3]. Front papers consist of half-title with blank verso; title-page Also One blank end-paper (pp.[195-96]).

—Available at Scribd - online [25.03.2015]; see also cover image in Wikipedia article on same - online.

 

See also Samuel Beckett, “Someone To Walk With Him Before Dinner” [on his acquaintance with James Joyce in interview with James Knowlson], in Beckett Remembering, Remembering Beckett: A Centenary Celebration: Uncollected Interviews with Samuel Beckett and Memories of Those Who Knew Him, ed. James & Elizabeth Knowlson (London: Bloomsbury; NY: Arcade 2006) - as attached.

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Notebooks, MSS, &c.
  • James Knowlson, gen. ed., The Theatrical Notebooks of Samuel Beckett (London: Faber & Faber; NY: Grove Press 1992-1999) [see details];
  • Carlton Lake, ed., No Symbols Where None Intended: A Collection of Books, Manuscripts, and Other Materials (Austin: Humanities Research Center 1984);
  • Mary Bryden, James Knowlson & Peter Mills, eds., Beckett at Reading: Catalogue of the Beckett Manuscript Collection at the University of Reading (Reading: Whiteknights/Beckett International Foundation 1998).
  • John Pilling, ed., Beckett’s Dream Notebook (Reading: Beckett Internat. Found. 1999), 197pp.
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Correspondence
  • Maurice Harmon, ed., No Author Better Served: The Correspondence of Samuel Beckett and Alan Schneider (Harvard UP 1999), 458pp.;
  • George Craig, Martha Dow Fehsenfeld, Dan Gunn & Lois More Overbeck, eds., The Letters of Samuel Beckett, [Vol. I:] 1929-1940 (Cambridge UP 2009), 882pp., ill. [18 b&w ills. on 8pp. photos].
  • —, eds., The Letters of Samuel Beckett, [Vol. II:] 1941-1956 (Cambridge UP 2011), 886pp., ill. [20 b&w.] [See under Niall Montgomery, q.v., and Carolyn Swift, q.v.].
  • —, eds., The Letters of Samuel Beckett [Vol. III:] 1957-1965 (Cambridge UP 2104), 771pp.

Note: George Craig, Editor and French Translater; Martha Dow Fehsenfeld, Founding Editor [authorised in 1985]; Dan Gunn, Editor; Lois More Overbeck, General Editor.

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Media (film, TV & audio)
Films
  • Waiting for Godot, with Zero Mostel and Burgess Merdith (NTSC, 102 mins. 1976); Happy Days, with Irene Worth and George Voscovek (1980; 90 mins in NTSC & PAL);
  • Rockaby (NTSC, 58 mins., 1982), with Billie Whitelaw [behind the scenes look at Becketts production of the play];
  • Film (NYSC, 21 mins. 1965), with Buster Keaton [everyman attempting to evade observation by all-seeing eye];
  • Krapp’s Last Tape, dir. Alan Schneider, with Jack MacGowran (NTSC, 54 mins.);
  • Michael Colgan & Alan Moloney, prod., Beckett on Film Project [Blue Angel Films/Tyrone Productions for RTÉ & C4] (2001) [10 hours, 37 mins.].
Film Online
  • Lego Endgame [U-Tube as seen on 3 Quarks Daily; link; 01.09.2008]
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TV versions (selected)
  • Beginning to End, dir. Chloe Gibson (1966);
  • Happy Days, dir. Chloe Gibson (1967) [see Helena Sheehan, Irish Television Drama, RTE 1987].
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Discography
  • Molloy, Malone Dies, The Unnamable, performed by Cyril Cusack, dir. Howard Sackler (Caedmon n.d.), [mono audio-cassette; 90 min.]
 
Audio-recordings (selected)
  • MacGowran Speaking Beckett (Claddagh Records CCT3);
  • A Tribute to Beckett: Barry MacGovern Reads ‘Dante and the Lobster’ from ‘An Abandoned Work’ (Dublin Abbey Cassettes, ABB 013).

See also National Public Radio, Washington DC for audiocassettes including Embers (1989).

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Bibliographical details
Murphy, trans. [into French] by Beckett & Alfred Péron (Paris: Bordas 1947; rep. Paris: Editions de minuit 1953): Edition de minuit wrappers round sheets of Bordas issue, Bordas having sold only 95 copies of 3,000 printed before transferring the stock to Jérôme Lindon. (Peter Ellis, Bookseller, Cat. 20; 2004).

The Beckett Trilogy (London: Calder, 1959 [1960] 1976; rep. Pan Books [Picador] 1979), 382pp., comprises Molloy [pp.7-162], trans. by Samuel Beckett and Patrick Bowles [originally Paris: Olympia Press; London: France Features 1955], being a trans. of Molloy (Paris: Editions de Minuit 1950); Malone Dies [pp.163-264], trans. by Samuel Beckett [orig. NY: Grove Press 1956; London: J. Calder 1958] being a trans. of Malone meurt (Paris: Editions de Minuit 1951); The Unnamable [pp.265-382], trans. by Samuel Beckett [orig. NY: Grove Press 1958; London: J. Calder 1959], being a trans. of L’Innommable (Paris: Editions de Minuit 1952); 8pp. pls. between pp.192-93 [See title verso Calder 1960]

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The Complete Dramatic Works (London: Faber 1986), 476pp. [1. Waiting for Godot; 2. Endgame; 3. Happy Days; 4. All That Fall; 5. Act Without Words I; 6. Act Without Words II; 7. Krapp’s Last Tape; 8. Rough for Theatre I; 9. Rough for Theatre II; 10. Embers; 11. Rough for Radio I; 12. Rough for Radio II; 13. Words and Music; 14. Cascando; 14. Play; 15. Film; 16. The Old Tune; 17. Come and Go; 18. Eh Joe; 19. Breath; 20. Not I; 21. That Time; 22. Footfalls; 23. Ghost Trio; 24. ...but the clouds...; 25. A piece of Monologue; 26. Rockaby; 27. Ohio Impromptu; 28. Quad; 29. Catastrophe; 30. Nacht und Träume; 31. What Where].

The Collected Works of Samuel Beckett, 19 vols. (NY: Grove 1970), [1. Murphy; 2. Poems in English; 3. How it Is; 4. Watt; 5. Waiting for Godot; 6. Proust; 7. Krapp’s Last Tape; 8. Cascando; 9. More Pricks than Kicks; 10. Molloy; 11. Stories and Texts for Nothing; 12. The Unnamable; 13. Film; 14. Happy Days; 15. Malone Dies; 16. Endgame; 17. Act Without Words].

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Collected Shorter Plays, ed. S. E. Gontarski (NY: Grove 1984; London: Faber 1984; rep. 1999), 316pp., [1. “Waiting for Godot; 2. “Endgame”; 3. “All That Fall”; 4. “Happy Days”; 5. “Krapp’s Last Tape”; 6. “Cascando”; 7. “Eh Joe”; 8. “That Time”; 9. “Not I”; 10. “Rockaby”]. See also, S. E. Gontarski, ed. & intro. The Shorter Plays: with revised texts for “Footfalls”, Come and go”, and What where” The theatrical notebooks of Samuel Beckett, Vol. 4 (London: Faber & Faber; NY: Grove Press 1999), xxxviii, 474pp., ill. [contains text in German].

Samuel Beckett: The Complete Short Prose, 1929-1989, ed. & intro. S. E. Gontarski [with notes] (NY: Grove Press [1995]), xxxii, 294pp. Contents: “Assumption”; “Sedendo et quiescendo”; “Text”; “A case in a thousand”; “First love”; “Stories. The expelled; The calmative; The end”; “Texts for nothing”; “From an abandoned work”; “The image”; “All strange away”; “Imagination dead imagine”; “Enough”; “Ping”; “Lessness”; “The lost one”; “Fizzles. [He is barehead]; [Horn came always]; Afar a bird; [I gave up before birth]; [Closed place]; [Old earth]; Still; For to end yet again”; “Heard in the dark 1”; “Heard in the dark 2”; “One evening”; “As the story was told”; “The cliff”; “Neither”; “Stirrings still”].

Note: Still was publ. by M'Arte Edizione (Milan) [ltd. edn.] with a note by Abraham [Con] Jacob Leventhal, that note being reprinted as “Samuel Beckett” in Eoin O’Brien, ed., in A. J. Leventhal 1896-1979: Dublin scholar, wit and man of letters [Con Leventhal Scholarship Commitee] (Glendate Press, Glenageary 1984), pp.15-18.

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The Theatrical Notebooks of Samuel Beckett, gen. ed., James Knowlson (London: Faber & Faber; NY: Grove Press 1992- ). Vol. 1: “Waiting for Godot”, with a revised text, ed., intro. & notes by Dougald McMillan & James Knowlson (London: Faber & Faber 1993; NY: Grove Press 1994), xxxiii, 472pp. [dates sic]; Vol. 2: “Endgame”, with a revised text, ed. intro. & notes by S. E. Gontarski (NY: Grove Press 1992), xxviii, 276pp. ; Vol. 3: “Krapp’s Last Tape, with a revised text, ed. intro. & notes by James Knowlson (London: Faber & Faber 1992), xxxiii, 286pp.; Vol. 4: The Shorter Plays, with revised texts for “Footfalls”, “Come and Go”, and “What Where”, ed., intro. & notes by S. E. Gontarski (London: Faber & Faber 1999), xxxviii, 474pp. ill. Note that Vols. 1 & 2 are out of series.

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