Just another of those old tales to keep the void from pouring in on top of you.

These old tales have been passed down through generations, like precious heirlooms. They are not just stories, but a source of comfort and protection. In a world that can often seem cold and empty, these tales offer a glimmer of hope and a sense of meaning. They remind us of the power of imagination and the importance of believing in something greater than ourselves. Whether it's a story of love and sacrifice, or one of courage and adventure, each tale has the ability to touch our hearts and souls. So the next time you feel the void creeping in, reach for one of these old tales and let it fill you with warmth and light.

Some of it is truly great. It shows remarkable innovation and creativity, leaving me in awe.

However, some of it is way over my head. The concepts and ideas are so complex that I struggle to understand them fully.

Surprisingly, most of it is both. It combines elements of greatness with a level of complexity that makes it simultaneously fascinating and challenging.

On one hand, I am drawn to the outstanding features and achievements. On the other hand, I find myself grappling with the parts that seem beyond my current comprehension.

This creates a unique experience where I am constantly pushed to expand my knowledge and understanding.

Despite the difficulties, I am determined to persevere and uncover the full potential of what lies before me.

After all, it is through such challenges that we grow and learn.

If you only pick up this play to read (and then watch the Channel 4 adaptation with Alan Rickman), you've done enough.

It is a work that stands out for its intense emotional impact. The author has crafted a story that is brutally visceral, delving deep into the human psyche and laying bare the rawest of emotions.

What makes it even more powerful is the way in which it is presented. The flippant and dismissive tone that pervades the play adds an extra layer of complexity and irony.

It forces the reader or viewer to question their own assumptions and values, and to confront the harsh realities of life.

This play is not for the faint of heart, but for those who are willing to engage with it on a deeper level, it has the potential to be a truly transformative experience.

It is a testament to the power of great literature and the ability of the written word to move and inspire us.

Whether you read it once or multiple times, it will leave an indelible mark on your soul.

So, if you're looking for a play that will challenge you and make you think, look no further than this one.

Pick it up, read it, and let yourself be swept away by its power.

You won't regret it.

This is a truly terrific collection that features some of Beckett's later short theater pieces.

Among them is the very last stuff, which is truly remarkable. In this work, Beckett uses language in an extremely minimal way.

It is almost as if one is seeing the bare skeleton of a skyscraper. The simplicity and austerity of his language in these later pieces give them a unique power and beauty.

They force the audience to look beyond the words and into the deeper meanings and emotions that Beckett is trying to convey.

This collection is a must-have for any fan of Beckett's work or for anyone interested in experimental theater. It offers a fascinating glimpse into the mind of one of the greatest playwrights of the 20th century.

We live in an illusion of communion.

Really, we are alone. Even in our most intimate encounters with other humans, our minds are irrevocably detached, not only from theirs but also from the rest of the universe.

I read three of the plays in this volume, wondering if I might discern, in a small sampling, some single undercurrent in Beckett’s work. A commonality running through these three plays was the brutality of human aloneness.

He shows this through a woman lost inside her head due to some sudden unknown trauma (Not I). Three individuals encased in urns as they confess the intrigues of a love triangle (Play). And a man recording some reflections on his life, even as he listens to earlier recordings he’s made reflecting on his life (Krapp’s Last Tape).

I also found productions of these on YouTube and watched them. Contiguous themes were the turbulence of mind, the tormented quality of the human condition, a longing for reason, and the peace which will come with death. Beckett does not deny the possibility of sweetness in human life. Krapp, in fact, feels nostalgic for one particular moment he lived with a woman, which was perhaps the highest moment of his life. Ironically, that moment occurred at the END of the remembered relationship.

Facing these harsh truths about ourselves is useful, I guess. It helps us to remember that the person sitting next to us on the bus is suffering as much as we are; which maybe encourages us to not make things worse for them.

I recently saw an article that listed Beckett’s seven most important plays. When I saw that three of them were in a book I owned, and that they were very short, I took on this little weekend experiment. The others listed were Endgame, Happy Days, Rockaby and Waiting for Godot. Here are links to the productions I watched:

Not I https://www.youtube.com/watch?v=M4LDw...
Krapp’s Last Tape https://www.youtube.com/watch?v=Nuq2e...
Play https://www.youtube.com/watch?v=qONcB...

I had a really weird experience while reading this. On one hand, I found myself thinking that Beckett should be regarded as first and foremost a comic writer. And I don't mean just tragicomic; I really think he has a strong comical side. However, on the other hand, I also found some of these pieces, like All That Fall and Eh Joe, genuinely just too depressing to read with any enjoyment. It seems that Beckett wasn't a very fun guy, even though his biggest influence was Charlie Chaplin.

I will say that the most relatable piece here for me is Quad. I often have the feeling that I'm like a guy manically darting around an open hole with my buddies for what seems like 100,000 years. It's a strange and yet familiar sensation that Beckett manages to capture in this piece.

Absolutely wonderful!

Beckett has rapidly emerged as one of my all-time favorite authors and playwrights.

I have a deep affection for works such as Ohio Impromptu, Embers, Rockaby, Not I, Krapp's Last Tape, and Rough for Radio I and II, in particular.

It's truly remarkable that there isn't a single bad story within his body of work.

Although some of them are undoubtedly rather strange, they all possess a unique charm and depth.

I am extremely eager to explore the Molloy Trilogy in the near future.

I anticipate that it will offer yet another fascinating and thought-provoking experience, further solidifying Beckett's status as a literary genius in my eyes.

His ability to create such complex and engaging characters and narratives is truly astonishing, and I can't wait to see what else he has in store for me.

Krapp's Last Tape is an absolute masterpiece that is nothing short of pretty well perfect.

Despite its brevity, consisting of only nine pages, it manages to pack a powerful punch.

The play delves deep into the mind and emotions of the protagonist, Krapp.

Through his recorded tapes, we witness his journey of self-reflection and reminiscence.

The sparse yet evocative language used by Samuel Beckett creates a haunting and atmospheric effect.

Each word seems to carry a weight of its own, adding to the overall impact of the piece.

Krapp's Last Tape is a prime example of how great art can be achieved with minimalism.

It shows that sometimes, less is truly more, and that a profound story can be told in just a few pages.

This play continues to captivate audiences and inspire generations of playwrights and artists alike.

It's a bit confusing.

I really enjoyed reading all of the plays. Each one had its own unique charm and story.

However, there are some plays among them that are just too confusing for me to fully understand. The plots seem to twist and turn in ways that I couldn't quite follow.

I know that I will have to read these particular plays again some time later. Maybe with a second reading, I will be able to pick up on the details and subtleties that I missed the first time around.

Despite the confusion, I still appreciate the effort that went into writing these plays. They are a testament to the creativity and imagination of the playwrights.

I look forward to delving deeper into these works and uncovering their true meanings.

I firmly resist the temptation to offer explanations for these works.

This is not due to the fact that they are difficult to explain, although indeed they pose a challenge in that regard.

Rather, it is because they are at their best when approached with a fresh perspective, allowing you to engage in the process of puzzling about them on your own.

These works are truly amazing. They have the power to captivate your attention and spark your curiosity.

By leaving them unexplained, you are given the opportunity to explore and discover their meanings and significance for yourself.

This process of self-discovery can be both exciting and rewarding, as it allows you to form your own unique interpretations and connections.

So, resist the urge to seek easy explanations and instead embrace the mystery and wonder of these remarkable works.

When I reread Beckett, I am struck by the fact that while some parts of his oeuvre are holding up rather well, others are clearly going to fade into obscurity.

I don't believe that En Attendant Godot will have the staying power it once had. It worked after the war because we were in need of apotropaic gestures of silence, and that was that. Beckett's obsessive theme is the mechanics of consciousness, particularly its glitches and loops. He is funny because he is the avatar of determinism and the minor god of the pratfall, whether physical or metaphysical. The quality of his shorter plays varies widely, and some of them suffer from the same aging process I just mentioned.

Have you ever seen Anthony Minghella's masterful interpretation of Play? https://www.youtube.com/watch?v=s2QJ0... That is one of the more passionate plays in his body of work, which generally tend towards being cold, cerebral prisons of the mind.

There is a certain elegance in the many ways Beckett finds to endlessly shape aporia. There is a playfulness with space and time in many of these plays, as well as with the theatrical and radiophonic space and time.

I remember actually enjoying reading Molloy very slowly, but I was highly amused the other day when I read a young man's review of the novel and his explanation of his frustration with it: https://triumphofthenow.com/2015/02/0...

People argue that Beckett is a titan of literature, and others argue that he is overrated. I think both viewpoints have some truth to them, and that's really not a problem.

If nothing else, Beckett was truly a master of the meta-story, or perhaps the story within a story, depending on which term one deems more accurate. Almost all of these plays are, simultaneously, the most dense and yet the most sparse things I have ever read thus far. Barely any of them ever fall flat. I can state that some are so complex in their descriptions or directions that I can easily become lost in the unfolding events. However, this is such a rare occurrence and is definitely an exception to the general rule. Some of my personal favorites and standouts include:

- Krapp’s Last Tape

- Rough for Theatre II

- Embers

- Rough for Radio II

- Words and Music

- Play

- Film

- Eh Joe

- Not I

- That Time

- Ghost Trio

- … but the clouds…

- Nacht und Träume

- What Where

These works展现了Beckett独特的创造力和对戏剧形式的深刻探索. Each one offers a unique perspective and challenges the reader to think deeply about the nature of story, character, and meaning.