This is the second in the famous trilogy of novels written by Samuel Beckett in the late 1940s. An old man is dying in a room. His bowl of soup comes, his pots are emptied. He waits to die. And while he waits, he constructs stories, mainly to pass the time. Saposcat, the Lambert family, Macmann and his nurse Moll. Other figures weave in and out of his vision and his imagination. This remarkable soliloquy, so intrinsically Beckettian, is as important as Waiting for Godot or Endgame, the famous plays that made his name. Sean Barrett gives a masterly performance.

Malone Dies (Modern Classics)

Literature & Fiction

SAMUEL BECKETT

British & Irish

Penguin

This new collection brings together "First Love", "The Calamative", "The End" and "The Expelled"; these four novellas are among the first major works of Beckett's decision to use French as his language of literary composition. Rich in verbal and situational humour, they offer a fascinating insight into many of the issues which preoccupied Beckett all his working life. As the first novella reveals, nobody writes with quite such cruel and unnervingly clever wit as Beckett...

First Love

Contemporary

Penguin??Books

Beckett's first stage play portrays two tramps, trapped in an endless waiting for the arrival of a mysterious personage named Godot, while disputing the appointed place and hour of his coming. They amuse themselves with various bouts of repartee and word-play.

Waiting for Godot (French Edition)

Dramas & Plays

Nelson Thornes Ltd

Company (Picador Books)

Macmillan

Samuel Beckett Reader (Picador Books)

I can't go on, I'll go on

Grove Press, 1977

A classic of modern theatre and perennial favorite of colleges and high schools. "One of the most noble and moving plays of our generation . . . suffused with tenderness for the whole human perplexity . . . like a sharp stab of beauty and pain".--The London Times.

Waiting for Godot

Humor & Entertainment

GROVE PRESS

Originally written in French and translated into English by Beckett, "Endgame" was given its first London performance at the Royal Court Theatre in 1957. HAMM - Clov! CLOV - Yes. HAMM - Nature has forgotten us. CLOV - There's no more nature. HAMM - No more nature! You exaggerate. CLOV In the vicinity. HAMM - But we breathe, we change! We lose our hair our teeth! Our bloom! Our ideals! CLOV - Then she hasn't forgotten us.

End-Game

Beckett wrote Proust in response to a commission precipitated by Thomas MacGreevy, Charles Prentice,&amp; Richard Aldington. In retrospect, Beckett dismissed it as written in "cheap flashy philosophical jargon."The essay served double duty as its author's aesthetic and epistemological manifesto, proclaiming on behalf of its ostensible subject: "We cannot know and we cannot be known." In dense and allusive language, Beckett credited his current influences (notably Schopenhauer and Calderón) and forecast his future preoccupations, reading them into the prose of Marcel Proust: The laws of memory are subject to the more general laws of habit. Habit is a compromise effected between the individual and his environment, or between the individual and his own organic eccentricities, the guarantee of a dull inviolability, the lightning-conductor of his existence. Habit is the ballast that chains the dog to his vomit. Breathing is habit. Life is habit. Or rather life is a succession of habits, since the individual is a succession of individuals; the world being a projection of the individual's consciousness. Beckett went on to pinpoint his moral focus on the fundamental quandaries of human existence, disclaiming any involvement in social issues: Here, as always, Proust is completely detached from all moral considerations. There is no right and wrong in Proust nor in his world. (Except possibly in those passages dealing with the war, when for a space he ceases to be an artist and raises his voice with the plebs, mob, rabble, canaille.) Tragedy is not concerned with human justice. Tragedy is the statement of an expiation, but not the miserable expiation of a codified breach of a local arrangement, organised by the knaves for the fools. The tragic figure represents the expiation of original sin, of the original and eternal sin of him and all his 'soci malorum,' the sin of having been born.

Proust

Classics

Mercier and Camier

Literary

Grove Press: Evergreen

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Books by SAMUEL BECKETT