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on 9 December 2017
Not quite what the title promises.
This is a well-printed volume of many wonderful short prose pieces by one of my favourite writers: a man who could convey so much meaning and feeling in so few words.
Why only four stars?The answer is that it is not, as described, 'Complete: 1929 - 1989' - after 'neither', published in 1976, there is nothing except 'Stirrings Still', published in 1988.
While it is true that Beckett's output slowed dramatically in his final years, there were at least two pieces worthy of inclusion: 'Company' (1979), which I have not read (so perhaps there is a justifiable reason for its exclusion, but no reason is given) and 'Worstward Ho' from 1983 which I have read, and, like many, regard as a most important late work.
As I indicated at the start, I think this volume is excellent in many respects with an informative and insightful introductory essay by S. E. Gontarski. I am very pleased to own the book: it's just a pity that it falls short of the promise on the front cover.
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on 22 March 1998
Essential for anyone interested in 20th century prose. Complements the holes in language the novels & plays sought to expose. Beckett knew everything there is to know about form. These shorts move between poetry and prose. See especially the series "First Love", "The Expelled", "The Calmative", "The End"- the bridge from Watt to Molloy. The blackened page of Beckett's paragraph-less mummur is not for everyone, but once you hear his rhythm, it is not easily forgotten.
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on 6 April 1999
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on 14 October 1997
--When my life-routine is in decay only Samuel Beckett can suffice. While the poorest of Beckett's prose offer only that sunken cold-in-the-stomach feeling of literary indigestion (this may after all be the intended effect), the better segments deliver a richer vein of orchestral inflection, a chalk-and-charcoal tone-poetry of sorts, a lush groggy cipher-state dreaming with angst. The 1946 sequence of nouvelles that are the blessing of this collection ("First Love" "The Expelled" "The Calmative" "The End") are especially vital to this reader, which is to say that they reread the best.
--As one progresses through this volume, from the Joycean exuberance of "Assumption" and "Sedendo et Quiescendo", to the ashen zero-time of "Texts for Nothing" and "All Strange Away", to the bleached naked endurance of "Lessness" and "Stirrings Still", Beckett's narration seems to sink further and further into the mud, a breaking down of readerly expectation into a prose-world as dark as what it conceals.
--I recommend this anthology to patient readers in search of their own zero-hour, and as a startling companion-piece to the major novels and plays.
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on 6 December 1998
The Unnameable explains himself as aporetic [being unable to act] and ephectic [being unable to make a decision]. From 1929, in "Che Sciagura", to 1989 Beckett's prose becomes more and more aporetic. From "Lessness" in 1970 to Ill Seen Ill Said in 1981 to Worstword Ho in 1983, aporia dominates the prose style and the thematic content. All of Beckett's tiny, bizarre stories - "Imagination Dead Imagine" [one paragraph], "The Lost Ones", "Enough", "Ping", Fizzles [eight one-paragraph stories] - they all contain catatonic characters, paralyzed by mental ambivalence. See The Insanity of Samuel Beckett's Art on Amazon.com.
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