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By S. E. Gontarski

"A distinctive collecting of Beckett statement. . . . the entire critics in Gontarski's assortment excel."--Melvin J. Friedman, collage of Wisconsin, Milwaukee
"Original, good notion out, and specified contributions to the sphere of Beckett scholarship."--Brian Finney, college of Southern California
For fifteen years the magazine of Beckett reviews attracted (and maintained the loyalty of) wonderful Beckett students. as a result of the journal's abnormal ebook agenda, in spite of the fact that, again problems with the unique sequence are nearly very unlikely to return through. This assortment makes on hand for the 1st time in publication shape these essays of remarkable advantage that experience by no means been reprinted.
   Samuel Beckett is among the stellar figures in post-World battle II English and ecu literature. This assortment comprises clean views on such primary subject matters in his paintings because the concept of the "absurd," the Manichean stress of sunshine and darkish, and the Cartesian break up of brain and physique, self and different. particular essays supply, for example, an existential analyzing of the quick mime Act with out phrases, I; an research of the Jungian libido working within the novel Molloy; a research of Beckett's play with language within the radio play Embers; and a critique of a significant query in Beckett experiences, his dating to the philosophical culture of solipsism.
   In 1992, Florida nation college made a dedication to general book of the JBS in a brand new sequence less than S. E. Gontarski's editorship. This assortment deals vital essays from the 1st part of the magazine (1976-91).
"The magazine of Beckett experiences, the 1st Fifteen Years: An Introduction," via S. E. Gontarski
"Beckett's Proust," via John Pilling
"'Birth Astride of a Grave': Samuel Beckett's Act with out phrases I," by way of S. E. Gontarski
"Belacqua as Artist and Lover: 'What a Misfortune,'" by way of Jeri L. Kroll
"Watt: Language as Interdiction and Consolation," via Thomas J. Cousineau
"Murphy's Metaphysics," via James Acheson
"Embers: An Interpretation," via Paul Lawley
"The Orphic Mouth in now not I," through Katherine Kelly
"Jung and the Molloy Narrative," via J. D. O'Hara
"Imagination lifeless think: The mind's eye and Its Context," via James Hansford
"Watt: song, Tuning, and Tonality," via Heath Lees
"Quoting from Godot: tendencies in modern French Theater," by means of Anne C. Murch
"'Imaginative Transactions' in los angeles Falaise," by means of James Hansford
"Beckett and the Temptation of Solipsism," via Ileana Marcoulesco
S. E. Gontarski, professor of English at Florida nation collage, edits the magazine of Beckett reports and is the writer of Samuel Beckett's satisfied Days: A Manuscript examine; The cause of Undoing in Samuel Beckett's Dramatic Texts; On Beckett: Essays and feedback; and editor of volumes 2 (Endgame) and four (The Shorter performs) of The Theatrical Notebooks of Samuel Beckett.

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Finally, the action of the mime is linear,  apparently terminal, not the unusual Beckettian circle. Critics like Linda Ben­Zvi have ignored such anomalies and so have got the mime wrong at both ends. Of the  opening she suggests that "Like all Beckett plays, the action in Act Without Words I begins in the middle. '' And she forces a cyclical pattern onto the end: "The mime  ends with the man still looking at his hands, suspended—as are Estragon and Vladimir, Hamm and Clov—between cessation and the next round. "16 But clearly birth  (or being "thrown" into "being") is a point of origination, and it takes a Procrustean reading of the ending to fit the mime into the circular patterns of Waiting for Godot  or Endgame. Its futility is finally of another, quite linear order. In the end the superior force apparently defeats the inferior, rather predictable, pathetic stuff. With this climax, the play appears more traditional and didactic than  anything else in the Beckett canon. The mime    Page 32 seems to lack Beckett's characteristic irony and doubling, for instance. But Beckett finally plays against this obvious, traditional ending, for the real play begins with its  terminus. The climactic ending of the mime may signify not pathetic defeat, but conscious rebellion, a deliberate, willful refusal to obey. Lucky has finally turned on  Pozzo, not with brute force, however, but humanely, by refusing to validate him, as Clov does to Hamm in the closing tableau of Endgame. Ironically then, the  protagonist is most active, most potent when inert, and his life acquires meaning as it closes. In this refusal, this cutting of the umbilical rope, a second birth occurs, the  birth of Man. The protagonist has finally acquired, earned, a name, Mankind or hu­Manity (another M, in any case). As he refuses the bidding of the outside force, as  he refuses to act predictably, in his own self­interest, as he refuses the struggle for the most elemental of man's needs, he breaks free of need the way Murphy never  may possibly. Man, in a frenzy of (in)activity, is born—free. If at first we saw man created by another, we end with Man creating himself. In his refusal to be driven by need,  to devote himself to physical existence, solely to survival and pleasure (shade, water, the off­stage womb, for instance), the protagonist has created a free, separate,  individual self. He has said with Camus' rebel, so far and no further. Rebellion is, of course, dangerous activity. The rebellious slave may indeed be physically destroyed by the master. In the final dramatic image of Act Without Words I,  the moments of birth and death virtually co­incide in an echo of blind Pozzo's insight: "They give birth astride of a grave. " Dramatic action is here produced by inaction,  a corollary to the tension produced by the prolonged silences and tableaux in the wordplays. In addition to an ending that is at least ambiguous, a series of brilliant visual allusions adds to the richness of this "primitive," "unperverted" mime.

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