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Samuel Barclay Beckett (/ ˈ b ɛ k ɪ t / ⓘ; 13 April 1906 – 22 December 1989) was an Irish-born writer of novels, plays, short stories and poems.His literary and theatrical work features bleak, impersonal, and tragicomic experiences of life, often coupled with black comedy and nonsense.
Beckett wrote all three books in French and then, aside from some collaborative work on Molloy with Patrick Bowles, served entirely as his own English-language translator; he did the same for most of his plays. [2] As Paul Auster explains, "Beckett’s renderings of his own work are never literal, word-by-word transcriptions. They are free ...
In his most famous work, the drama En attendant Godot (Waiting for Godot, 1952), he examines the most basic foundations of our lives with strikingly dark humor. [2] Among his other famous literary works include Krapp's Last Tape (1958), Happy Days (1961) and The Molloy Trilogy (1955–58). Poster for drama performance of Beckett's Waiting for ...
The Complete Short Prose 1929–1989 is a collection which includes all of Samuel Beckett's works written in prose, with the exception of his novels, novellas from Nohow On, and More Pricks Than Kicks which is considered "as much a novel as a collection of stories". [1] The book was edited by S. E. Gontarski and published by Grove Press in 1995.
Murphy, first published in 1938, is an avant-garde novel, the third work of prose fiction by the Irish author and dramatist Samuel Beckett.The book was Beckett's second published prose work after the short-story collection More Pricks than Kicks (published in 1934) and his unpublished first novel Dream of Fair to Middling Women (published posthumously in 1992).
Books by Samuel Beckett (2 C, 5 P) F. Films with screenplays by Samuel Beckett (1 P) P. ... Pages in category "Works by Samuel Beckett"
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None of the thirteen "Texts for Nothing" were given titles; they present a variety of voices thrust into the unknown. According to S. E. Gontarski: "What one is left with after the Texts for Nothing is 'nothing,' incorporeal consciousness perhaps, into which Beckett plunged afresh in English in the early 1950s to produce a tale rich in imagery but short on external coherence."