On Beckett

The Essential Beckett: A Preface to the Second Edition – S. E. Gontarski; A Beckett Chronology; Acknowledgments; Crritics and Crriticism: “Getting Known”– introduction by S. E. Gontarski; PRELIMINARIES: Beckett and “Merlin” – Richard W. Seaver; Samuel Beckett and the Visual Arts: The Embarrassment of Allegory – Dougald McMillan; When is the End Not the End? The Idea of Fiction in Beckett – Wolfgang Iser; THE PAGE: “Murphy” and the Uses of Repetition – Rubin Rabinovitz; “Watt” – Lawrence E. Harvey; “Mercier and Camier”: Narration, Dante, and the Couple – Eric P. Levy; Molloy’s Silence – Georges Bataille; Where Now? Who Now? – Maurice Blanchot; The Voice and Its Words: “How It Is”– J. E. Dearlove; The Unnamable’s First Voice? – Chris Ackerley; Between Verse and Prose: Beckett and the New Poetry – Marjorie Perloff; “Worstward Ho” – Dougald McMillan; THE STAGE: MacGowran on Beckett – interview by Richard Toscan; Blin on Beckett – interview by Tom Bishop; Working with Beckett – Alan Schneider; Notes from the Underground: “Waiting for Godot” and “Endgame” – Herbert Blau; Beckett Directs “Godot” – Walter D. Asmus; Beckett Directs: “Endgame” and “Krapp’s Last Tape” – Ruby Cohn; Literary Allusions in “Happy Days” – S. E. Gontarski; Counterpoint, Absence, and the Medium in Beckett’s “Not I” – Paul Lawley; Rehearsal Notes for the German Premiere of Beckett’s “That Time” and “Footfalls” – Walter D. Asmus; “Footfalls” – James Knowlson; Samuel Beckett and the Art of Radio – Martin Esslin; Light, Sound, Movement, and Action in Beckett’s “Rockaby” – Enoch Brater; Beckett’s “Ohio Impromptu”: A View from the Isle of Swans – Pierre Astier; “Quad” and “Catastrophe” – S. E. Gontarski; CODA: Burroughs with Beckett in Berlin – edited by Victor Bockris; Notes on Contributors