The End of Oulipo?

The End of Oulipo? My book (co-authored with Lauren Elkin), published by Zero Books. Available everywhere. Order it from Amazon, or find it in bookstores nationwide. The End of Oulipo

Lady Chatterley’s Brother

Lady Chatterley's Brother. The first ebook in the new TQC Long Essays series, Lady Chatterley's Brothercalled “an exciting new project” by Chad Post of Open Letter and Three Percent. Why can't Nicholson Baker write about sex? And why can Javier Marias? We investigate why porn is a dead end, and why seduction paves the way for the sex writing of the future. Read an excerpt.

Available now from Amazon, Barnes & Noble, and direct from this site:


Translate This Book!

Ever wonder what English is missing? Called "a fascinating Life Perecread" by The New Yorker, Translate This Book! brings together over 40 of the top translators, publishers, and authors to tell us what books need to be published in English. Get it on Kindle.

For low prices on Las Vegas shows visit LasVegas.ShowTickets.com

You Say

Group Reads

The Tunnel

Fall Read: The Tunnel by William H. Gass

A group read of the book that either "engenders awe and despair" or "[goads] the reader with obscenity and bigotry," or both. Info here. Buy the book here and support this site.

Naked Singularity

Summer Read: A Naked Singularity by Sergio De La Pava

Fans of Gaddis, Pynchon, DeLillo: A group read of the book that went from Xlibris to the University of Chicago Press. Info here. Buy the book here and support this site.

Life Perec

Life A User's Manual by Georges Perec

Starting March 2011, read the greatest novel from an experimental master. Info here. Buy the book here and support this site.

Last Samurai

Fall Read: The Last Samurai by Helen DeWitt

A group read of one of the '00s most-lauded postmodern novels. Info here. Buy the book here and support this site.

Tale of Genji

The Summer of Genji

Two great online lit magazines team up to read a mammoth court drama, the world's first novel.

Your Face Tomorrow

Your Face This Spring

A 3-month read of Javier Marias' mammoth book Your Face Tomorrow

Shop though these links = Support this site


Ten Memorable Quotes from William Gaddis’ Letters

New Books
Here are ten of my favorite moments from these hugely interesting letters.


Interviews from Conversational Reading

New Books
See this page for interviews with leading authors, translators, publishers, and more.


  • Nostalgia June 15, 2014
    Few habits are as prone to affliction, or as vulnerable to an ordeal, as the bent of a peddler’s consciousness. Placeless, the peddler completes an untold number of transactions; there are ideas to conduct (through language, which can transact a mind) and feelings to certify (through tasks, repeated interminably). […]
  • Why Literary Periods Mattered by Ted Underwood June 15, 2014
    There are some writers who are, and likely always will be, inextricably linked to the “period” with which their work is associated, and in many cases helped to define. Surely Wordsworth and Keats will always be “Romantic” poets, while Faulkner and Woolf will remain modernists, as the term “modern” has been fully appropriated to describe the historical era be […]
  • Trans-Atlantyk by Witold Gombrowicz June 15, 2014
    August 1939. You sail to Buenos Aires on the Chombry as a cultural ambassador of Poland. Why say no to a little holiday on the government’s tab? Soon after arriving you sense that something isn’t right. You emerge from a welcome reception and your ears are “filled with newspaper cries: ‘Polonia, Polonia,’ most irksome indeed.” Before you’ve even had a chance […]
  • Accepting the Disaster by Joshua Mehigan June 15, 2014
    The first collections of most young poets, even the better ones, carry with them a hint of bravado. Flush with recognition, vindicated by the encouraging attentions of at least one editor and three blurbists, the poet strikes a triumphant pose and high-fives the Muse: “We did it, baby.” When Joshua Mehigan published his impressive first collection, The Optim […]
  • The Histories of Herodotus, translated by Tom Holland June 15, 2014
    Two of the greatest of Tom Holland's predecessors in translating Herodotus are Victorian scholar George Rawlinson and Aubrey de Selincourt; the former translated Herodotus in 1860, making an enormous hit (despite the fact that its detractors often referred to it as “dull and prolix"), while the latter's 1954 Herodotus was another enormous hit, […]
  • Bullfight by Yasushi Inoue June 15, 2014
    The premise of Yasushi Inoue's debut novella Bullfight, celebrated in Japan as a classic of postwar literature, is unassuming enough: an evening newspaper sponsors a tournament of the regional sport of bull-sumo. As practical and financial issues arise, the paper's young editor-in-chief, Tsugami, soon realizes he has taken on more than he can handl […]
  • Sworn Virgin by Elvira Dones June 15, 2014
    Sworn Virgin was made to be translated. Elvira Dones wrote this book not in her native language of Albanian but in Italian—a necessarily fraught and complicated decision. In an Italian-language interview with Pierre Lepori, Dones speaks about her choice of language: “Sworn Virgin was born in Italian . . . I’ve lived using Italian for nineteen years, it has s […]
  • On the Letters of David Markson June 15, 2014
    Knowing these narrators and how their lives paralleled David’s own, it’s difficult to deny his being a recluse. I certainly held that image of him, and nursed it, secretly cherishing it because it meant I was one of the few people with whom he corresponded, and with whom he would occasionally meet. Arranging our first meetings in person was something of a ni […]
  • Storm Still by Peter Handke June 15, 2014
    Storm Still (Immer Noch Sturm) does not necessarily represent new terrain for Handke. Originally published by Suhrkamp Verlag in 2010 and now available for English-language readers thanks to Martin Chalmers’ fluent translation, the play chronicles the dissolution of the Svinec family, a family of Carinthian Slovenes—a quasi-fictionalized version of Handke’s […]
  • Red or Dead by David Peace June 15, 2014
    David Peace's novel Red or Dead is about British football, but it partakes in the traits of Homer's epic. This is a novel about the place of myth and heroes in modern society, about how the cyclical rhythms of athletic seasons reflect the cyclical patterns of life. It is a book about honor and fate, and one which bridges the profound, dreamlike ter […]

How Closely Should Beckett’s Intentions Be Followed?

Cans
Via the Literary Saloon, interesting article in Prospect on how rigid rules of staging Beckett's plays are threatening to ossify them:

Calder’s efforts to make these plays available to audiences have an almost missionary zeal. Yet he is anything but democratic about their interpretation; he speaks with scorn of those who do “perverse things” with them. “If you try to set Endgame on the Moon [as one American company apparently did], or in some such different environment, the play just loses all its meaning.” There is room for manoeuvre, he insists, but his scale of what is “acceptable” is particularly subtle—even obscurely so. “People say that the Beckett Estate is very tyrannical, insisting that the [stage] directions are followed exactly. But there’s always room for little differences here and there, for little interpretations. But the words mustn’t change. The stage directions mustn’t change.”

The result of this approach was evident in both the Gate’s Godot and Calder’s Endgame: scrupulously faithful productions, performed with passion and insight by committed casts, but dominated by imagery so familiar that all surprise was absent.

Perversely, it seems to me, familiarity has made these plays more inaccessible: their visual motifs are so well known beforehand that they are more easily dismissed. Godot is “the one where nothing happens”; Endgame is “the one with the old pair in the bins”; Happy Days is “the one about the woman buried in the sand.” Like conceptual art, the point becomes the idea, not engagement with the work.

That's a powerful point: what interest would Beckett's heirs have in promoting his plays as cliches? And why such worry? After everything that's been done to stage and manipulate other classic UK theatrical works, the likes of Wilde and Shakespeare haven't been perverted. In any event, leave it to the audience to decide what works and what doesn't.

More from Conversational Reading:

  1. The Waves on Stage Katie Mitchell writes about how she brought Virginia Woolfe’s fragmentary novel The Waves to the stage: Woolf wrote The Waves between July 1929 and late...
  2. Beckett Centennial The New York Sun has some info on Grove's forthcoming boxed set of virtually all of Beckett's works. Grove Press, Beckett's original American publisher, has...

Related posts brought to you by Yet Another Related Posts Plugin.

2 comments to How Closely Should Beckett’s Intentions Be Followed?

  • Scott, it’s not Beckett’s intentions we’re talking about – it’s his *instructions*. And rather than ask if they should “followed”, ask how Beckett’s instructions be *respected*. Choice of words is central – and no-one was more sensitive to words than Beckett. I’d rather watch his “cliches” than have his work swamped by careless luvvies.
    Also, the article is in Prospect Magazine – home of tepid, conversative dross since 1995.

  • And it’s precisely because of “everything that’s been done to stage and manipulate other classic. . .theatrical works” that Beckett insisted it be *his* vision that predominates stagings of his plays, not the goofy vision of some third-rate director with “ideas.” Thanks ought to be given to Beckett for sparing us from the “re-stagings” of those who are his intellectual and aesthetic inferiors to an infinite degree.

Leave a Reply

  

  

  

You can use these HTML tags

<a href="" title=""> <abbr title=""> <acronym title=""> <b> <blockquote cite=""> <cite> <code> <del datetime=""> <em> <i> <q cite=""> <strike> <strong>