Images of Beckett - Index of

35 SB, letter to Pamela Mitchell, 25 November 1953.
36 SB, letter to John Kobler, 21 March 1977.
37 SB, letter to Tom MacGreevy, 10 March 1935.
38 Samuel Beckett, comment made to Alec Reid, 10
February 1966.
39 See Phyllis Gaffney, Healing Amid the Ruins. The Irish
Hospital at Saint-Lô (1945–46) (Dublin: A. & A. Farmar,
1999).
40 Samuel Beckett, Happy Days (London: Faber & Faber,
1973), p. 19.
41 For an account of an occasion in Germany in 1937 when
Beckett was well and truly ‘conned’, see James
Knowlson, Damned to Fame. The Life of Samuel Beckett
(London: Bloomsbury, 1996), pp. 254–6.
42 Samuel Beckett, Disjecta. Miscellaneous Writings and a
Dramatic Fragment (London: John Calder, 1983), p. 52
(in German) and p. 171 (in English).
43 ibid., p. 94.
44 ibid., p. 171.
45 Samuel Beckett, interview with Tom Driver, Columbia
University Forum, summer 1961, pp. 21–5, quoted in
Lawrence Graver and Raymond Federman (ed.), Samuel
Beckett: The Critical Heritage (London and New York:
Routledge and Kegan Paul, 1979), p. 219.
46 The best account of Beckett’s aesthetic development
over the period 1930–53 is to be found in John Pilling,
Beckett Before Godot (Cambridge: Cambridge University
Press, 1997).
47 Samuel Beckett, interview with Gabriel d’Aubarède,
Nouvelles Littéraires, 16 February 1961, quoted in
Graver and Federman, Beckett: The Critical Heritage,
p. 217.
48 Samuel Beckett, interview with James Knowlson, 27
October 1989.
49 Samuel Beckett, Collected Shorter Plays (London: Faber &
Faber, 1984), p. 230.
50 SB, German Diaries, vol. 4, 15 January 1937.
IMAGES OF BECKETT
1 SB, letter to Alan Schneider, 16 October 1972. Maurice
Harmon (ed.), No Author Better Served: The Correspondence of
Samuel Beckett and Alan Schneider (Cambridge, MA:
Harvard University Press, 1998), p. 283.
2 Quoted in S. E. Gontarski, The Intent of Undoing in Samuel
Beckett’s Dramatic Texts (Bloomington, IN: Indiana
University Press, 1985), p. 214.
3 Beckett, Collected Shorter Plays, p. 242.
4 On Beckett and Nauman, see the fine catalogue of an
exhibition staged at the Kunsthalle in Vienna,
February–April 2000, entitled Samuel Beckett Bruce
Nauman.
5 Werner Spies, ‘Image Afterwards: an After Word’ in
Word and Image. Samuel Beckett and the Visual Text, ed.
Breon Mitchell and Lois Overbeck (Atlanta, GA: Emory
University Press, 1999), p. 55.
6 Manuscript notes in ‘Eté 56’, notebook entitled ‘Play
Female Solo’. MS 1227/7/7/1, archive of the Beckett
International Foundation, University of Reading.
7 For a fuller discussion of this common approach to
language, see Linda Ben-Zvi, ‘Samuel Beckett, Fritz
Mauthner and the Limits of Language’, PMLA 95, no. 2,
March 1980, pp. 183–200.
8 Beckett, Disjecta, p. 172.
9 Jim Lewis, ‘Beckett et la caméra’, Samuel Beckett, Revue
d’Esthétique, hors série 1990 (Paris: Editions Jean-Michel
Place), p. 376.
10 Samuel Beckett, conversation with Lawrence Harvey,
6 April 1962 (Harvey notes, Dartmouth College).
11 Samuel Beckett, conversation with Lawrence Harvey,
19 March 1962 (Harvey notes, Dartmouth College).
12 Anita Brookner to Boyd Tonkin, ‘You Should Play
Russian Roulette with Your Life’, Independent Magazine,
29 June 2002.
13 Marin Karmitz, interview with Elisabeth Lebovici, in
Marin Karmitz, Samuel Beckett, Comédie (Paris: Editions
du Regard, 2001), p. 19 (in French), pp. 72–3 (in
English).
14 Samuel Beckett, conversation with Lawrence Harvey, 7
November 1962 (Harvey notes, Dartmouth College).
15 Luke Gibbons and Kevin Whelan, ‘In Conversation with
Stephen Rea’, 2 February 2001, Yale Journal of Criticism 15,
no. 1, 2002, p. 6.
16 Beatrice Lady Glenavy, Today We Will Only Gossip
(London: Constable, 1964), p. 178.
17 James Knowlson, Damned to Fame. The Life of Samuel
Beckett, pp. 406–7.
18 Dougald McMillan and James Knowlson (eds.), The
Theatrical Notebooks of Samuel Beckett, vol. i, Waiting for
Godot (London: Faber & Faber and New York: Grove
Press, 1993), p. 238 [notebook p. 30].
19 SB, letter to James Knowlson, 28 April 1973.
20 Beckett, Collected Shorter Plays, p. 215.
21 For a discussion of an earlier attempt to write something
for a ‘severed-head image’ called ‘Kilcool’, see
Gontarski, Intent of Undoing, pp. 113–14, 133–42.
22 Copies of these six volumes of German diaries are now
placed in the archive of the Beckett International
Foundation at the University of Reading.
23 These various writings on art are usefully collected in
Proust and Three Dialogues with Georges Duthuit and Cohn
(ed.), Disjecta.
24 Samuel Beckett, Murphy (London: Calder & Boyars,
1969; 1st edition, 1938), p. 172.
25 Samuel Beckett, interview with James Knowlson, July
1989.
26 SB, letter to Tom MacGreevy, 8 September 1934.
27 Avigdor Arikha, undated personal conversation with
James Knowlson.
28 ‘The Giorgione [Venus Sleeping in Dresden’s
Gemäldegalerie] is in a mess. The putto with the arrow
and the bright bird sitting at her feet (by Giorgione or
Titian?) was painted over with senseless landscape in
the 19th century and the whole line of the left leg
NOTES TO PAGES 21–58 149