Scholars tend to label Samuel Beckett\u2019s early career negatively as either his \u201cJoyce years\u201d or his \u201cSurrealist period,\u201d maintaining that Joyce\u2019s writings had a detrimental effect on Beckett\u2019s initial works and that Surrealism was only a minor influence. But both were critical models for Beckett. He mined his powerful predecessors for themes, ideas, and techniques that he used throughout his career, even as he rejected the aspects of them that did not suit him, and increasingly transcended the constraints of their particular styles.<\/p>\n\n\n\n
Alan Friedman, Thaman Professor of English and Comparative Literature, specializes in modern British, Irish, and American literature, the novel, and Shakespearean drama. He is the author of six books and has edited a dozen others, as well as coedited four special journal issues on Joyce and Beckett. His honors include the UT\u2019s Civitatis Award, conferred annually for dedicated and meritorious service to the University. For 20 years he coordinated the Actors from the London Stage program and the student group Spirit of Shakespeare. He has chaired the University\u2019s Faculty Council and is currently Secretary of the General Faculty.<\/p>\n","protected":false},"excerpt":{"rendered":"Speaker – Alan Friedman Scholars tend to label Samuel Beckett\u2019s early career negatively as either his \u201cJoyce years\u201d or his \u201cSurrealist period,\u201d maintaining that Joyce\u2019s writings had a detrimental effect on Beckett\u2019s initial works and that Surrealism was only a minor influence. But both were critical models for Beckett. He mined his powerful predecessors for […]","protected":false},"author":13,"featured_media":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","episode_type":"audio","audio_file":"http:\/\/podcasts.la.utexas.edu\/british-studies-lecture-series\/wp-content\/uploads\/sites\/4\/2019\/04\/19-04-19-BSLS-Samuel-Beckett.mp3","podmotor_file_id":"","podmotor_episode_id":"","cover_image":"","cover_image_id":"","duration":"","filesize":"71.12M","filesize_raw":"74577728","date_recorded":"19-04-2019","explicit":"","block":"","itunes_episode_number":"","itunes_title":"","itunes_season_number":"","itunes_episode_type":""},"tags":[147,119,40,148,17,150,149,120],"categories":[],"series":[2],"class_list":{"0":"post-142","1":"podcast","2":"type-podcast","3":"status-publish","5":"tag-alan-friedman","6":"tag-austin","7":"tag-british-studies-lecture-series","8":"tag-civitatis-award","9":"tag-english","10":"tag-shakespearen-drama","11":"tag-surrealist-period","12":"tag-university-of-texas","13":"series-bsls","14":"entry"},"acf":{"related_episodes":"","hosts":[{"ID":949,"post_author":"10","post_date":"2021-01-20 19:50:06","post_date_gmt":"2021-01-20 19:50:06","post_content":"\n
Wm. Roger Louis is head of the British Studies Lecture Series. He is an American historian and a professor at the University of Texas at Austin<\/a>. Louis is the editor-in-chief of The Oxford History of the British Empire<\/a><\/em>, a former president of the American Historical Association<\/a> (AHA), a former chairman of the U.S. Department of State's Historical Advisory Committee, and a founding director of the AHA's National History Center in Washington, D. C.<\/p>\n","post_title":"Wm. Roger Louis","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"wm-roger-louis","to_ping":"","pinged":"","post_modified":"2021-01-20 19:50:06","post_modified_gmt":"2021-01-20 19:50:06","post_content_filtered":"","post_parent":0,"guid":"http:\/\/podcasts.la.utexas.edu\/british-studies-lecture-series\/?post_type=speaker&p=949","menu_order":0,"post_type":"speaker","post_mime_type":"","comment_count":"0","filter":"raw"}],"guests":[{"ID":880,"post_author":"40","post_date":"2020-06-24 16:57:55","post_date_gmt":"2020-06-24 16:57:55","post_content":"\n Alan Warren Friedman holds the Arthur J. Thaman and Wilhelmina Dor\u00e9 Thaman Professorship in English and Comparative literature. He specializes in modern British, Irish, and American literature, the novel and Shakespearean drama.<\/p>\n\n\n\n He has authored five books, including \"Party Pieces: Oral Narrative and Social Performance in Joyce and Beckett;\" and \"Fictional Death and the Modernist Enterprise,\" which examines cultural and literary attitudes toward death. Edited books include \"Samuel Beckett in Black and Red\" and \"Situating College English: Pedagogy and Politics at an American University,\" which examines cultural and higher educational issues. He has co-edited four special journal issues on Joyce and Beckett.<\/p>\n\n\n\n He coordinates the annual residency program, Actors from the London Stage, and advises the student organization, the Spirit of Shakespeare, which supports the residency and performs scenes from the annual AFTLS play. He has won several teaching awards, including Plan II's Chad Oliver Teaching Award (2003), and both the English Department's Faculty Service Award (2008) and UT's Civitatis Award conferred annually \"upon a member of the faculty in recognition of dedicated and meritorious service to the University above and beyond the regular expectations of teaching, research, and writing\" (2009-10).<\/p>\n","post_title":"Alan Friedman","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"alan-friedman","to_ping":"","pinged":"","post_modified":"2020-06-24 16:57:55","post_modified_gmt":"2020-06-24 16:57:55","post_content_filtered":"","post_parent":0,"guid":"http:\/\/podcasts.la.utexas.edu\/british-studies-lecture-series\/?post_type=speaker&p=880","menu_order":0,"post_type":"speaker","post_mime_type":"","comment_count":"0","filter":"raw"}],"transcript":" Well, what a great way to spend the Friday afternoon before Good Friday before<\/p>\n Easter. Who could think of anything better than hearing Alan Friedman speak about<\/p>\n his recent book? Also, very glad to have the director of the HRC,<\/p>\n Steve Ennis here and the former chair, I believe English. Are you still chair<\/p>\n the English? The<\/p>\n Philip Levine is going to introduce our speaker. I think neither of us speakers here need<\/p>\n introduction in this in this room. But it’s a great pleasure to welcome back<\/p>\n our colleagues from the English department. It was one of the five calls me English department here. Both of these very distinguished<\/p>\n scholars, of course, are perhaps best known for their work on modernism and looking at the handouts.<\/p>\n I think that’s what we’re going to hear about today. By the looks of things, you might I could I will infer that<\/p>\n they they also both have a strong interest and expertise<\/p>\n in fashion. And the two, of course, are going to be shifting theater and modernism. But both of them have been involved in the<\/p>\n actress from the London stage program. That has been such a fantastic boon to the campus as well. So it’s really just<\/p>\n terrific to have them both here today. Welcome, Muslime. Oh,<\/p>\n well, first anyway. OK. Thank you, Roger.<\/p>\n Thank you, Phillip. Thank you to be here. So<\/p>\n hello, everybody, and welcome. Delighted to see you all. Samuel<\/p>\n Beckett was so deeply enmeshed in the James Joyce circle during his early Paris years from 1928<\/p>\n through 1939, that James Nelson, his authorized biographer and one of his most insightful<\/p>\n critics, dubbed them his Joyce years. But the surrealists<\/p>\n and surrealism rival Joyce for Beckett’s early and continuing attention,<\/p>\n if not affection. So much so that Raymond Fetterman, a much quirkier critic than Nelson<\/p>\n and also a highly experimentalist novelist himself, calls nineteen twenty nine to forty five<\/p>\n Beckett’s surrealist period. I submit that there is much truth in both<\/p>\n of these somewhat contradictory claims, and that there’s a further truth about the shape of Beckett’s<\/p>\n career. But I will consider toward the end, Beckett’s Joycie and<\/p>\n connections are well known and have been well explored, although critics generally consider that Joyce’s<\/p>\n influence waned after his death in 1941 and the end of World War<\/p>\n Two. A few years later, Beckett’s connections with the surrealists and their work have been much<\/p>\n less examined. Never much of a joiner. Beckett did not officially belong<\/p>\n to the surrealist group, although he was acquainted with many of the surrealists and with much of<\/p>\n their work. He was friends, for example, with Duchamp, Kandinsky,<\/p>\n Frances Kabira and Jack Amitay, with whom he collaborated on the construction of a tree<\/p>\n for an early Goodo production. He played chess with several of the surrealists.<\/p>\n He translated numerous surrealist writings and he signed one of the surrealist manifestos.<\/p>\n Beck could also use many of the same images, perspectives and motifs as the surrealists<\/p>\n representing and exploring pre-natal and dream states, body parts, the<\/p>\n unconscious non-sequiturs, implausibility, madness,<\/p>\n spontaneity, the marvelous and something analogous to what Andre Breton<\/p>\n called Andre put-on, who was the leader of the surrealist group called Pure Psychic<\/p>\n Automatism becketts Joycean and Surrealist Connections, first<\/p>\n converged in the March 1932 issue of Eugene. Joe lost his little magazine<\/p>\n Transition, which was subtitled An International Workshop for Offic<\/p>\n Creation on the Joycie Inside and contains an excerpt in what was called<\/p>\n Basic English from the and Olivia Pluribus section of Work in Progress.<\/p>\n As Finnegan’s Wake was then called a photograph of her manuscript page from that<\/p>\n work and a section called Marge to James Joyce for his 50th birthday.<\/p>\n The issue also includes becketts previously rejected story, the Joycie incident,<\/p>\n though, at Crescendo, which is extracted from his first and as yet unpublished<\/p>\n novel, then as yet unpublished novel Dream of fair to middling women as<\/p>\n well as poetry is vertical. Joe lost his manifesto on writing, apparently derived<\/p>\n from young withits surrealist call for the hegemony of the inner<\/p>\n life over the outer life. The hallucinatory eruption of images in the dream,<\/p>\n the invention of a hermetic language if necessary, the construction of a new mythological<\/p>\n reality. Marianne Kaus describes it as a widely admired manifesto,<\/p>\n funny and serious and optimistic all at once. In a rare instance<\/p>\n of his publicly expressing collectivist sympathy, Beckett, though not Joyce,<\/p>\n signed the manifesto. Ruby Cohn suggests that while Beckett may not have participated in<\/p>\n the manifesto’s composition, at least one of its rigging sentences was consonant<\/p>\n with his practice. The final disintegration<\/p>\n of the eye and the creative act is made possible by the use of a language which is a Mantach<\/p>\n instrument and which does not hesitate to adopt a revolutionary attitude<\/p>\n toward word and syntax. Going even so far as to invent hermetic<\/p>\n language if necessary, that Beckett may have been of two minds about his signature<\/p>\n is perhaps suggested by his ridiculing such French movements and documents.<\/p>\n In his lecture on one John de Shulz, a non-existent French<\/p>\n poet whom he quotes in Dream and who Beckett writes, came to a bad end.<\/p>\n Joyce indulges in manifesto. mocking in Finnegans Wake when he refers to Alpizar’s<\/p>\n letter in defense of her husband as her untitled mama festa<\/p>\n memorializing the most highest and her certain guest, and then has certain guests at a literary<\/p>\n salon come forth to contemplate in manifest and pay their<\/p>\n first great duties before the both of him. Beckett, in turn, has characters<\/p>\n in his story. Echo’s bones relaxed, quote, relaxing from time to time<\/p>\n to Choire their manifesto. Colan Boycott Pollsters<\/p>\n Measure. For all its recalling of Finnegans Wake, allusive,<\/p>\n obscure and thusly restless and verbally resonant language echoes bones<\/p>\n with its horrible and immediate switches of the focus and the wild, unfathomable energy<\/p>\n of the population. As Beckett’s editor Charles Prentiss wrote in, rejecting the<\/p>\n story he had commissioned is surreal in its undermining of narrative, causation<\/p>\n and reading like a dream sequence or a series of discrete vignettes.<\/p>\n It begins by depicting blackwall Beckett’s kind of alter ego, fictional alter ego<\/p>\n who is resurrected after his death in a previous story, straddling a fence<\/p>\n day in, day out a foot in each of two worlds<\/p>\n locations are dreamlike, shifting from one to another abruptly, whimsically,<\/p>\n a pasture paved with edible mushrooms, a Parisian room, a graveyard,<\/p>\n a seashore. black\/white encounters a prostitute. The infertile giant<\/p>\n Lord goal of Wormwood Lady Gohl, whom Blackwood is called upon to impregnate<\/p>\n and does a cemetery in which he and a grave digger dig up his grave so that<\/p>\n he can prove it’s empty. And a submarine of souls on the sea, wildly<\/p>\n populated by various characters who, like Blackwood, died in the collection of stories<\/p>\n more prick’s than kics, including little Alba, waving from the conning<\/p>\n tower and beckoning in a most unladylike manner.<\/p>\n Beckett did not formally endorse surrealism any more than Joyce did, but the avant garde<\/p>\n like Joyce impacted his writings not only through the 1940s, but I would argue<\/p>\n from first to last. In turn, he did what he could to further the Surrealists<\/p>\n agenda, though he wouldn’t have put it that way. Just as he did Joyce’s,<\/p>\n especially during the years 1929 to forty five, his so-called surrealist<\/p>\n period. Fetterman argues that Beckett’s novels and stories of the first period<\/p>\n are situated in a still recognizable setting a city landscape. Dublin,<\/p>\n London. Streets are named. Houses are described. Even nature is<\/p>\n described, though, ironically, but rather than realistic descriptions. This<\/p>\n staging, one might say these scenes are surreal, going even further than Fetterman.<\/p>\n Daniel Allbright maintains that Beckett spent his whole life under the spell of the surrealist<\/p>\n exhibition, as he put it. Though it’s hard to know exactly how to read that last phrase,<\/p>\n since Beckett used it mockingly in his first completed play Hell You Thearea,<\/p>\n written in 1947, a likely reference to the London Surrealist Exhibition<\/p>\n of 1936, which the major Surrealists Breton and Poul al-Yawar,<\/p>\n along with Roland Penrose man Ray and George, really helped organize. The phrase<\/p>\n is spoken by lru theory a cynical, dying, world weary, honourary<\/p>\n crap as a way to characterize his wife’s partitioning of their apartment<\/p>\n with barbed wire. John Pilling writes that Beckett was often in contact<\/p>\n with the artists and writers connected with the great surrealist exhibit in 1936.<\/p>\n And he was one of the translators of Thorns of Thunder selected poems by the surrealist<\/p>\n poet Paul al-Yawar, which was published in conjunction with the exhibition<\/p>\n and his name, and in an accurate transcription of one of his translations, appear<\/p>\n on an exhibition flyer. Although hard evidence is lacking,<\/p>\n Lois Gordon writes that it was a show which one must assume Beckett attended<\/p>\n during a period when he was living in London. Beckett was also intimately<\/p>\n involved at the time with Peggy Guggenheim, who ran the Guggenheim Joan Gallery in London,<\/p>\n which exhibited surrealist and other contemporary art. Max Ernst, who had lived<\/p>\n in a montage a trois with L U R and his wife golla, subsequently married Guggenheim<\/p>\n and then the Surrealists painted painter Dorothy Tanning. So the connections proliferated.<\/p>\n Beckett’s monetary needs were great during the two periods when he did most of his translations of work by others.<\/p>\n The early 1930s and the late 40s. But Affinity may also help<\/p>\n to explain his being repeatedly asked and drawn to translate and therefore<\/p>\n interpret and promulgate the surrealists. Above all, even if he<\/p>\n didn’t always want that connection. Widely known, Nelson writes that Beckett<\/p>\n did far more translations than anyone has ever realized. For many of them peered<\/p>\n at his own request unsigned.<\/p>\n At the time, he was writing Dream A Fair to Middling Women. Becca translated At least 16<\/p>\n pieces. Poems and prose poems for the surrealist number of Edward<\/p>\n Titus’s little magazine. This quarter, September 1932, that Breteau<\/p>\n GUEST edited and that’s your hand out. No one.<\/p>\n Is the table of contents for that issue? becketts translations garnered<\/p>\n high praise from Titus, the Journal’s editor. Quote, We cannot refrain from singling<\/p>\n out Mr. Samuel Beckett, Samuel Beckett’s work for special acknowledgment.<\/p>\n His rendering of the L U R and baritone poems in particular is characterized lable<\/p>\n only in superlatives, meaning presumably that he had captured<\/p>\n the surrealist quality of the originals. And according to Allbright, Beckett’s<\/p>\n early translations of the surrealists were as important to his artistic development as<\/p>\n his critical studies of priest and Joyce. Titus demonstrated<\/p>\n that the praise was genuine and heartfelt when he subsequently commissioned Beckett<\/p>\n to translate Rambos libretto ever for which the editor happily paid Beckert,<\/p>\n even though this quarter folded before it was published. Ironically,<\/p>\n the translation was subsequently again displaced from its designated slot, this<\/p>\n time in contemporary poetry and prose of 1936 by a letter from Edward<\/p>\n from Ezra Pound inveigh against what he called the Coward Surrealists.<\/p>\n Beckett’s drunken boat was finally published in 1976 and then included in his<\/p>\n collected poems. The next year, this court is surrealist. No. Also<\/p>\n contains 10 pages of prose and poetry by Tristan Tzara without<\/p>\n a translator ascribed to them. John Pilling and Peter five-fold argue persuasively<\/p>\n that they were translated and left unsigned by Beckett, who had written to his friend Thomas McGreevy<\/p>\n about translating Caravelle and then xorra next, presumably anticipating<\/p>\n upcoming translations for this quarter. xorra translations<\/p>\n include imagery that might well be described as Piquet, Eon or surrealist.<\/p>\n The prose poem Like a Man, for instance, ends with chalk dust ash,<\/p>\n an image that resurfaces an end game, and the prose excerpt from the anti head begins<\/p>\n the low sadness of a desolate landscape below sadness of a few<\/p>\n dwellers in blackness, imagery that recurs repeatedly in Beckett’s<\/p>\n writings. Having played a major role in this quarter, surrealist<\/p>\n no, Beckett would have been familiar with breton’s comprehensive statement as guest editor<\/p>\n surrealism yesterday, today and tomorrow and would presumably have had a mixed<\/p>\n reaction to it. Lois Gordon suggests that Britain’s earliest manifestos<\/p>\n emphasized a number of elements that must have been of enormous interest to Beckett.<\/p>\n Dreams. Paradox. Chance. Coincidence. These early writings<\/p>\n also discussed humor as visible at life’s most tragic moments.<\/p>\n The intermingling of conscious and unconscious thought thought functioning would become both subject<\/p>\n and technique in the Beckett canon. In addition to breton’s espousal<\/p>\n of dreams, most congenial to Beckett would likely have been his linking of<\/p>\n humor and tragedy. An end game, for example, Nele comments<\/p>\n that nothing is funnier than unhappiness. breton’s,<\/p>\n I grant you that the rest of the quotation tone’s emphasis on cinematic imagery<\/p>\n that resembled eisenstein’s montage and Beckett was a great fan of Eisenstein. The necessity<\/p>\n of going onward toward Discovery, automatic writing that manifests itself as a monologue<\/p>\n poured out as rapidly as possible as like Lucky’s and Godot, over<\/p>\n which the subjects critical sense claims no share and a refusal to rein in<\/p>\n the imagination. Regardless of the fear of going mad,<\/p>\n Beckett may have undergone psychotherapy out of such concern for himself, and perhaps also<\/p>\n a desire to understand what was happening to Joyce’s daughter, Luchi. But he didn’t shy<\/p>\n from representing madness in his writings. It is as commonplace in his fiction<\/p>\n as it is in the work of the Surrealists. In his story thingo, for example,<\/p>\n blackwall points to the portrayed lunatic asylum outside of Dublin and says,<\/p>\n My heart’s right there. And the narrator of the story, Love and Lethe,<\/p>\n concurs. A mental place was the home for him. Murphy’s<\/p>\n quest for mental freedom leads him to an institution for the insane, which he finds an agreeable place<\/p>\n to work, and where he plays chess with a schizophrenic Mr. end-run, before dying<\/p>\n shortly thereafter. What ends up in an asylum with his narrator, Sam,<\/p>\n as does Malone, who boasts that I feel in extraordinary form delirium,<\/p>\n perhaps along with his fictional character McMann, and who<\/p>\n views the asylum the House of St John of God, as its called, as a little paradise.<\/p>\n An end game Hamm says he once knew a mad man, a painter who thought the end of the world<\/p>\n had come, that it was covered in ashes and that he alone had been spared,<\/p>\n which may well be the situation for the play’s survivors. And like any game,<\/p>\n much of the late fiction occurs in what the narrator of the late work Ill seen Ill said<\/p>\n calls a mad house of the skull and nowhere else,<\/p>\n a place notably occupied by Luckie and Waiting for Godot. The Unnamable<\/p>\n and Bli All End Game is emphasized by the skull like set that Roger Blin<\/p>\n created with Beckett for its initial performance in 1957,<\/p>\n according to the narrator of becketts, the combative. We are, needless to say, in<\/p>\n a skull. All the mortals I saw were alone, and as if something themselves<\/p>\n Stanley can task, he writes that it is a descent most often into an emblematic skull<\/p>\n from which Beckett’s fiction will never emerge. The image anticipates not only<\/p>\n the skull escapes of the trilogy, the three lay pieces that comprise nowhere<\/p>\n no how on, but the dehumanise dystopia tale, the lost ones<\/p>\n and what is generally called the Post. How it is prose late<\/p>\n Beckett works like lessness and worst word. Ho can sound at times like mad ramblings<\/p>\n or automatic writing or the workings of the unconscious behind the skull.<\/p>\n Worst would hope, for example, occurs in the skull. All save the skull gone.<\/p>\n The stare alone in the dim void alone to be seen. Dimly seen<\/p>\n in the skull. The skull alone to be seen. The narrator<\/p>\n of Beckett’s last major work stirrings still ruminates on whether he was in<\/p>\n his right mind. He could not, but begin to wonder if he was in his right mind.<\/p>\n But Beckett, over the scrupulous and self aware craftsman, consciously<\/p>\n produces something akin to what Proteome thought an artist could achieve only<\/p>\n by turning off his mind.<\/p>\n Beckett would also likely have found uncongenial breton’s<\/p>\n ex cathedra tone and pronouncements, his arrogating to himself the authority to<\/p>\n arraign those turncoats from serialism, his insistence that his followers<\/p>\n must adhere to a political and social agenda of his determining one that<\/p>\n he sought to organize in the four corners of the Earth less solemnly<\/p>\n Britan describing the automatic writing he produced. Philip Sopo the lighted in<\/p>\n some bits of rampant buffoonery, a very high degree of immediate absurdity, a like<\/p>\n a delight that Beckett likely would have shared. But Proton then denounced humor<\/p>\n as one of the two great riffs on which romantic art viewed as a predecessor of surrealism,<\/p>\n must come to grief. The other riff is what he calls servile imitation of<\/p>\n nature in its accidental forms. Although he edited the 1940<\/p>\n Anthology of Black Humor, a term he claimed to have invented invented<\/p>\n breton’s seems to have been conflicted about humor, viewing it as a useful weapon<\/p>\n in the subversives arsenal and in the form of nonsense potential potentially constructive<\/p>\n in restoring the child like paradise of the surreal but wary of its potential<\/p>\n for use against him and his movement. Beckert, a man of inordinate<\/p>\n national natural dignity, seems not to have shared Britain’s fear of appearing<\/p>\n ridiculous. Though he often made dismissive comments about his translations,<\/p>\n Beckett nonetheless seemed pleased with at least some of them and eager for more. And not just for<\/p>\n the money they might bring him. In October 1932, a month after the publication<\/p>\n of this quarter’s surrealist number, he wrote to his friend Thomas McGreevy that he had recently<\/p>\n contacted Nancy Cunard to say it was always a pleasure to translate<\/p>\n al-Yawar and. And again, he said, I think I’ll have real pleasure and<\/p>\n transposing them. He sounds more skeptical when noting that A.J. Leventhal says that<\/p>\n all good old men go surrealist, surrealist. Haven’t observed that in myself.<\/p>\n He adds, though he reiterated his price praise of surrealist work in a 1940<\/p>\n nine-letter after translating what he called the Picasso sequence by L. Yuor,<\/p>\n which I think is lovely. Still, when asked, update. has collected poems in 1961,<\/p>\n Beckert included only a few surrealist translations seven poems<\/p>\n by L. Your eight Maxime like Sebastian Schempp 4 and the pollinators<\/p>\n Zohn plus Rambos libretto. Shortly after Beckett completed<\/p>\n his work for this quarter, you know, I did indeed ask him to undertake significant translation<\/p>\n work for Husk for her compendium Negro Negro, an anthology<\/p>\n which was published 1934. Beckett ultimately translated 19 pieces for<\/p>\n Negro, contributing more to the volume than anyone except yu-na herself<\/p>\n and Ranma Ra’mon, merely her then lover and principal contributor. That.<\/p>\n And number three is two is the<\/p>\n table of contents for Negro. And three is the list of becket’s the word Beckett translated<\/p>\n At least six of becketts Negro translations were a surrealist works, and his views of<\/p>\n them were decidedly mixed. Caravelle is the negroes and the brothel<\/p>\n which he called miserable rubbish and took like great liberty in translating.<\/p>\n Despite having been enthusiastic about criminals work earlier. Ernst Mormon’s poem Lewis<\/p>\n Armstrong Benjamin Pirie’s Black and White in Brazil.<\/p>\n Rubia of Yellow’s a short history historical survey of Madagascar, which Beckett called<\/p>\n Bolls. George schedules Sambo without tears. A<\/p>\n rather curious translation of So Duvall’s title, The Negara allow you days on<\/p>\n full and murderous humanitarianism and attack on the church<\/p>\n and what he called its God of Cash, which was signed by eleven members of the so-called surrealist<\/p>\n group in Paris, which Beckett referred to as the whole surrealist guild.<\/p>\n One can see why Cunard was keen to have Beckett translate for Negro. But what was in it for him?<\/p>\n Her project with its anti-racist, communist and surrealist agenda seems superficially<\/p>\n an unlikely one for Beckett to have committed to his possible motivations for doing this work<\/p>\n include financial need, friendship for Cunard and gratitude to her for awarding<\/p>\n his poem horoscope. The prize in her contest for the best poem under one hundred lines<\/p>\n on the subject of time, and then publishing it at her hours press as Beckett’s<\/p>\n first standalone publication. Perhaps he also had an interest in<\/p>\n and even some sympathy for the causes that Negro espoused. The<\/p>\n financial explanation I find unconvincing. Nelson quotes. Beckett is expected to be paid<\/p>\n twenty five pounds for the translations for Negro a considerable sum. But Beckett<\/p>\n had spent Cuno adds ten pounds that you awarded him for horoscope on a dinner for<\/p>\n friends. Thus benefiting only briefly and tangentially from it.<\/p>\n So it’s doubtful that he would have undertaken the Negro translations for the money alone. Besides<\/p>\n Cunard, who had been cut off by her mother in 1932, stated from the start of the<\/p>\n Negro Project that she could pay none of its contributors. Jane Marcus maintains<\/p>\n that no one received any remuneration for the work they did for it. And Hugh Foord notes that<\/p>\n several potential contributors balked when they when they learned that Nancy<\/p>\n did not intend to pay for material. Claude McKay, the poet who had already<\/p>\n written and submitted his contribution for Negro, angrily withdrew. It went to<\/p>\n his apparent dismay and surprise. Cunard reiterated that no payment would be forthcoming.<\/p>\n Beckett’s friendship with Cunard, which became lifelong and deep, was in due indubitably a factor<\/p>\n she had before the Negro project supported him generously when she had money and he had need.<\/p>\n She visited him often when he was recovering in the hospital from his stabbing assault in 1938.<\/p>\n In the 1950s and 60s, when she was the one in financial difficulty, Beckett Center<\/p>\n signed copies of both horoscope for her to sell to support herself and of<\/p>\n Godot. Signed with love from Samuel, she sang. She thanked<\/p>\n him with an elegiac poem for Sam, December 15, 1963,<\/p>\n in which she says, You gave whether or not Beckett was paid<\/p>\n for his translations, and the preponderance of the evidence suggests that he was not. And whatever his<\/p>\n use about Negroes agenda, he undertook the task seriously, even<\/p>\n as he disparaged much of what he was translating during a period of personal, professional,<\/p>\n financial and psychological difficulty beyond his friendship for Cuno. Beckett<\/p>\n may have had some moral and intellectual sympathy for her impressive collectivist<\/p>\n project, which flaunted its political, cultural and ascetic agenda during a time<\/p>\n the depression when economics was the major public issue. According to michala,<\/p>\n the creation of Negro is an act of omarjan and recuperation for Cunard. It was<\/p>\n a question of erecting a monument to black culture, of denouncing fallacious arguments about the<\/p>\n benefits of civilization so generously brought to the book, brought to the blacks,<\/p>\n and assaying to the blacks themselves that they would have to find a compromise between the ancient,<\/p>\n almost moribund civilizations that could be regenerated and the European style of life<\/p>\n in Beckert, a highly individualistic and famously but not entirely<\/p>\n a political writer. The ironic and often despairing quality of his fiction and drama<\/p>\n can be read as commentary on the unimproved ability of the human condition.<\/p>\n While Laurence Harvey argues that Beckett is especially antagonistic to art that is so<\/p>\n socially ongoing, Shea Gordon maintains that Beckett had powerful convictions<\/p>\n regarding his moral obligations to others.<\/p>\n He could not accept the evil imposition of suffering on others with his arms folded.<\/p>\n Whatever the personal risk, while Beckett was no more comfortable aligning<\/p>\n himself with communism and where most of the surrealists, his large contribution to<\/p>\n Negro suggests a belief in cultural and individual equality and<\/p>\n worth. It was a belief that he demonstrated through his life, throughout his life, and his personal,<\/p>\n personal relationships. His wartime participation in the French Resistance.<\/p>\n His work helping to resuscitate the Red Cross Hospital at Sandalow in Normandy after the war.<\/p>\n His responding to a request to assist ADA Society for the<\/p>\n to assist victims of repression by writing Catastrophic<\/p>\n the plague catastrophic and dedicating it to the playwright Vaclav Havel, who had been imprisoned by<\/p>\n the Czech government and his and it and his becketts depictions which valorize<\/p>\n those so depicted without ennobling their suffering of the downtrodden, the infirm,<\/p>\n the hapless, he said. My people seemed to be falling to bits. My<\/p>\n characters have nothing. But remarkably, for the most part, they survive. They<\/p>\n persist. Given Negress promulgation of social, racial, cultural and political<\/p>\n justice, Beckett’s contribution seems an act of small support and commitment<\/p>\n not only to Kinnard, but also of her causes, including surrealism,<\/p>\n whose proponents largely shared her racial and political agenda.<\/p>\n Surrealism was marked by numerous contradictions and paradoxes. Most notable<\/p>\n was its advocating violence and madness as a principle while also being strongly<\/p>\n antipathetic toward the destruction and irrational rationality of the Great War<\/p>\n in which to their subsequent regret. Many surrealists had served<\/p>\n because the surrealists accepted Freud’s theory that we are born with aggressive instincts that must be<\/p>\n both satisfied and contained. If civilisation is to function.<\/p>\n Home, like the earlier futurists, made violence, spontaneity and irrationality<\/p>\n central to the movement by espousing them and surrealism as founding manifesto.<\/p>\n A.J. Cronin maintains that from the beginning, a cult of violence, which was more than just intellectual,<\/p>\n had been one of the principal weapons in the surrealist armory. The first issue of their review<\/p>\n had published a photograph of Charmaine Berteau, who had just murdered a prominent<\/p>\n right wing member of the reactionary exile in France, says defiantly surrounded<\/p>\n by all the members of her group. Yet, like the data ists before them,<\/p>\n the Surrealists also denounced what they came to view as the great wars mindless, definite<\/p>\n devastation, chaos and absurdity. Max Ernst, a German<\/p>\n national who served on both the western and eastern fronts, spoke for many of his generation<\/p>\n when he said of his time in the Army on the 1st of August 1914.<\/p>\n Max Ernst died. He was resurrected on the 11th of November 1918,<\/p>\n according to Tristan Tzara, who spent the war in neutral Zurich as a political protest.<\/p>\n Never has a Claus’s bell. I’d been more preposterous than that of World War One.<\/p>\n The whole European world went to hell because some down and out Serb killed a couple of rich and<\/p>\n powerful Austrians. These assassinations should have been treated as<\/p>\n a simple criminal offense, and that should have been that. Instead,<\/p>\n the assassin assassinations became the ultimate absurdist act, a meaningless rationale<\/p>\n for the most extravagant slaughter in human history. A pollinator who gave surrealism<\/p>\n its name in 1917 had initially Cold War a beautiful thing.<\/p>\n But he came to view the apocalyptic hell of the battlefield, where he was seriously wounded<\/p>\n as the work of a mad humanity, putting out the stars with shellfire.<\/p>\n And then just after the war ended, he wrote. The time has come to light the stars again,<\/p>\n but he died from his war wound shortly thereafter. Accepting Freud’s theory<\/p>\n of aggression, surrealists came to differ over whether violence should be expressed literally<\/p>\n as Breton insisted or metaphorically as blend well maintained, even Zorro<\/p>\n was not a pacifist. He joined both the Republicans and the Spanish Civil War and the French Resistance<\/p>\n during World War Two. Bretons autobiographical novel Najia, whose narrative contemplates<\/p>\n such surrealist principles as violence, spontaneity and irrationality, ends with a statement.<\/p>\n Beauty will be convulsive or will not be at all.<\/p>\n And as if designed to illustrate Britain’s misogyny, numerous surrealist works explicitly<\/p>\n represent violence against women. I’ve got some illustrations of this that I hope will<\/p>\n work here. Yeah, okay. So we’ve got Marguerite’s<\/p>\n the meanest assassin with a female body draped and exposed.<\/p>\n Jochum, any sculpture? 0 1.<\/p>\n A woman with her throat cut that you might not recognize her as such.<\/p>\n Marguerite’s the rape depicts a naked female torso missing ahead,<\/p>\n but with a prompt with prominent breasts. Navel and vagina taken<\/p>\n together suggest a face as much as they do a body, a face eerily and blankly<\/p>\n observing the observer and topped with a full head of hair. Data and surrealists<\/p>\n are generated aesthetic and rhetoric of body parts that became<\/p>\n common cultural currency after the war and that greatly impacted becketts writings<\/p>\n in TSAs play of the gas hawt, the characters. And this is nineteen twenty one<\/p>\n who were played in the first production by in Paris by major data is figures, several of whom became<\/p>\n surrealists or named for specific facial features. The eyebrow<\/p>\n of the eye, the nose, the neck, the mouth and the ear. These are the characters in the play. Acting out<\/p>\n his principle of violence, Breton led an assault on the costume, hampered actors.<\/p>\n Others responsible for the production and the theater itself that terminated the initial performance of<\/p>\n the guest, hit the gas hard and caused a riot that had to be also halted by police. They took their art<\/p>\n seriously. In those days, Britain’s action climax the split with the avant garde group<\/p>\n and led to dueling proclamations signed by numerous adherents on both sides as<\/p>\n antiauthoritarian art manifested. The bearded heart and breton’s prescriptive<\/p>\n surrealist manifesto. Numerous surrealist artists took their cues from TSAs<\/p>\n representation of body parts. John Up created detatched much mustaches<\/p>\n that represent the pompous bourgeois arrogance and stupidity that led to the war in which<\/p>\n he had refused to serve France’s Picardie as Olga.<\/p>\n It shows the head of a beautiful woman emerging despite being partly<\/p>\n obscured by several free floating eyes and an extra nose and mouth.<\/p>\n A precursor of Beckett’s play, Not I, which features a bright red mouth emerging from a<\/p>\n black curtain eight feet above the floor. John cocteau’s film, The Blood of a Poet,<\/p>\n has and materialize everywhere all over the screen. Starting with an artist<\/p>\n sketching a face whose mouth begins to move, he tries to rub it out, but the mouth<\/p>\n attaches itself to the palm of his hand. He then places it on a female statue,<\/p>\n which begins to speak, urging him to pass through a mirror into another world.<\/p>\n And Dorothy, tanning, surreal painting, a very happy picture. A<\/p>\n figure holding an umbrella over here<\/p>\n stands with his back to the observer while looking up at a brightly lipstick mouth.<\/p>\n Open the curtain there. Floating in a flowing kirtan above to lower body<\/p>\n torsos that are here and here, it is a painting<\/p>\n from which becketts auditor and mouth in night I might have emerged.<\/p>\n The title and the presence of an umbrella also suggest a possible source for happy days<\/p>\n in which he wields a parasol. It suddenly erupts into flames.<\/p>\n Both Ernst celebs. I’m going to talk about that figure for just<\/p>\n a moment. And Jackie M\u00e9tis walking woman statue depicts headless<\/p>\n and distorted and distorted female torsos in accord with Brekke breton’s sexist<\/p>\n notion of women as headless muses, though the trace of a face<\/p>\n appears in Jack Amitay statue, if you can see it up here. Yeah.<\/p>\n But the reverse was at least as widespread on Ehrich, images of heads or upper torsos<\/p>\n were sculpted or painted by Brand Kuzey. His sleeping new series, starting<\/p>\n in ninety eight, did Eurico. This is supposedly Yeom<\/p>\n appalling error and Ernst met an Ernst<\/p>\n Oby Emperor tour. Jack Abedi, who is sometimes referred to<\/p>\n as a miserable list, as if for a month, as if he were a movement that others like Beckett might join<\/p>\n variously and repeatedly represents what seems to be the consequences of violence.<\/p>\n Body parts often heads and images of serial entrapment, for example. Disagreeable<\/p>\n object. A sort of phallus with spikes<\/p>\n that also includes a face and the surrealists table in which a partially<\/p>\n clog head of a long haired woman startlingly views a hand, presumably her own<\/p>\n across a table. Victor Browner’s Wolf Table or surrealism<\/p>\n the poetry of Dreams similarly depicts a fox bust, angrily<\/p>\n contemplating its tail across a wooden table from which it partially emerges.<\/p>\n Born in 1946, Becket was, of course, too young for the Great War, but he experienced its terrible<\/p>\n consequences, including the fragmented and disjointed imagery of modernist<\/p>\n art, the fragmented literature of modernism Winesburg, Ohio, Ulysses,<\/p>\n the Wasteland, lb’s Cantos, the run up to World War Two, and then his own wartime<\/p>\n experience, out of which he came to write a literature of bodily decrepitude, suffering<\/p>\n and endurance set in a bleak, devastated landscape like the Surrealists.<\/p>\n Beckett’s work is replete with body parts, often limbs represented as independent<\/p>\n agents. And while he did not share the Surt surrealist crude misogyny,<\/p>\n he did title his first novel, Dream of Fair to Middling Women and represent<\/p>\n an upper bodied winny in happy days, spending her time rummaging in her capacious<\/p>\n handbag like Ernst. Men shall know nothing of this.<\/p>\n Which depicts two conjoined pairs of legs floating in the sky above two veiled and<\/p>\n robed figures, one of whom seems to be carrying a baby or an enlarged hand.<\/p>\n Take your choice. Becca deploys body parts not as symbols or even Sinek keys,<\/p>\n but as images of incompleteness or disconnectedness, as if birth<\/p>\n or life has become a piecemeal affair when it manages to happen at all.<\/p>\n The narrative voice in Beckett’s Prose Work Company, for example, depicts an unidentified<\/p>\n you awaiting an assignation. Her light step is<\/p>\n heard. Her face appears at the window. The height or length you have in common is the sum<\/p>\n of equal segments. A single leg appears seen from above.<\/p>\n You separate the segments and leave them side by side telephone assignation. I think<\/p>\n the voices in the 13 prose pieces that comprise texts from nothing. Struggle in<\/p>\n vain to construct or sustain a coherent identity or narrative.<\/p>\n The text one marriage narrator says to the body Up with you now, and I can feel it struggling.<\/p>\n I say to the head. Leave it alone. Stay quiet. It stops breathing. Then pants on.<\/p>\n Worse than ever. I should turn away from it all. Away from the body. Away from the head.<\/p>\n Let them work it out between them. In text 3, the voice speculates that he might sprout<\/p>\n ahead at last. All my very own in which to brew poisons worthy of me<\/p>\n and legs to kick my heels with. And perhaps two legs or one<\/p>\n in the middle. I’d go hopping or just the head nice and round, nice and smooth.<\/p>\n No need of lineaments. Text for authors ahead, strewn with arms laid down<\/p>\n and corpses fighting fresh and a body. I nearly forgot. While Text 8’s narrator<\/p>\n wonders, What’s the matter with my head? I must have left it in Ireland<\/p>\n in a saloon. It must be they’re still lying on the bar and text 10’s fancies<\/p>\n that the head has fallen behind. All the rest has gone on the head and its<\/p>\n anus, the mouth, or else it has gone on alone. And text eleven reduces the<\/p>\n narrator even further. No arms, no hands. Better by far<\/p>\n as old as the world, and no less hideous. Amputated on all sides. You wrecked<\/p>\n on my trusty stumps. Among the most startling and original images<\/p>\n in the theater, a Beckett’s truncated or partial figures? An end game.<\/p>\n Happy days. Play.<\/p>\n And not I. Beckert anticipated his depictions. His<\/p>\n depiction of happy days. Happy days when you<\/p>\n first stuck up to her breasts in an Act 2, up to her neck and a mound of earth in<\/p>\n the unnameable vision of Malone. I see him from the waist up. He stops at the waist<\/p>\n as far as I am concerned. The absurdity of Happy Days results not only from Winnie’s<\/p>\n extraordinary situation, but also from her blas\u00e9 attitude about it.<\/p>\n She apparently accepts her imprisonment as normal, even while complaining that the earth is very<\/p>\n tight today. Canopy I have put on flesh. I trust not.<\/p>\n She recalls that things are no longer what they were when I was young<\/p>\n and foolish and beautiful possibly. I speak of when I was not yet caught<\/p>\n in this way and had my legs and heavy use of my legs. She acknowledges<\/p>\n that her circumstances are so real. All seemed strange, most strange, never any change,<\/p>\n and more and more strange when he also thinks that her situation might improve<\/p>\n as magically as it had worsened because she’s sorry.<\/p>\n Because she’s a creature of the air. Think of her as a bird with oil on her feathers.<\/p>\n Beckett suggests that. And because gravity no longer seems to work as it used to.<\/p>\n She says, I fancy that if I were not held in this way, I would simply float up into the<\/p>\n blue, and that perhaps someday the earth will yield and let me go. The pull<\/p>\n is so great. Yes. Crack all round me and let me out. Or<\/p>\n her circumstances could worsen. One day the earth might cover my breasts as<\/p>\n it doesn’t act too and in so doing, somehow expunge her, free your past.<\/p>\n Then I shall never have seen my breasts. No one ever seen my breasts.<\/p>\n Stacey’s an alternation alteration collide as she is constrained to accept a condition<\/p>\n to have always been what I am. And so changed from what I was evoking<\/p>\n a metaphor, theatrical perspective when he recalls a couple who came upon her and Willy and Willy,<\/p>\n her semi mobile husband, and failed to make sense of their circumstances. Standing<\/p>\n there, gaping at me when he recounts, what is she doing? She says. Sorry.<\/p>\n What is she doing? He says. What’s the idea? He says, stuck up to<\/p>\n her duties and the bleeding ground. What does it mean? He says, What?<\/p>\n What’s it meant to mean? Why doesn’t he dig her out? He says, What good is she to him like that?<\/p>\n What good is he to her like that? And so on. Usual Tosh, when he comments.<\/p>\n But the wife’s mocking response goes some way toward normalizing when you situation and<\/p>\n you she says this is the wife, the couple. What’s the idea of you? She says. What are you meant to mean?<\/p>\n Yet it’s also possible that when he only imagines the couple as a way of articulating the question,<\/p>\n that presumably must be uppermost in her mind. LT doesn’t really<\/p>\n tried to dig her out. James Nelson suggests that images of partial<\/p>\n internments, including these, may have surfaced from the depths of Beckett’s own imagination.<\/p>\n But they also came from his experience. For example, Bu\u00f1uel and Dali’s and<\/p>\n Andalusia, losi and Dog, a film that Beckett almost certainly new employees images<\/p>\n of the violence and cruelty that Brett T\u00f4n advocated enacting, beginning with an eyeball<\/p>\n being sliced with a razor blade and ending with a couple, perhaps representing suppressed human emotions.<\/p>\n Surreally sunk in the sand up to their breast bones. Ernst painting<\/p>\n Omarjan a W.C. Fields and his little chickadee derived from the collaboration of Fields in<\/p>\n Mae West. In My Little Chickadee afilm 1940 film set in the American west<\/p>\n of the 1880s, shortly being captured by a highwayman, Miss the Mae West character<\/p>\n saunters unharmed into town, and coolly explains. I was in a tight spot,<\/p>\n but I managed to wriggle out of it. Her pronouncement anticipates the circumstances of<\/p>\n many Beckett characters. Who are in tight spots but can scarcely<\/p>\n wiggle, let alone wriggle out, Ernes paints W like windy and happy days.<\/p>\n As a as a plump, big bosom bust and head wearing a clownish, ornate hat<\/p>\n and holding aloft an open, multicolored parasol, perhaps having just burst into<\/p>\n flame like he’s with the fields figure off to the side, that’s this is<\/p>\n the fields for you wearing a top hat and seeming like Winnie’s mound,<\/p>\n either to be holding her up or constraining her or both.<\/p>\n And while no hard evidence. Well, maybe I’ll skip this. Getting on. Let me just skip that. I was<\/p>\n going to give you a little bit about Angus McBean and his theater photographs<\/p>\n and his depiction of all sorts of women, including these two<\/p>\n floral robes. And I think it starts today in very<\/p>\n Dolly esque sectarian poses.<\/p>\n And then despite all of this, against all odds, continuity remains Beckett’s predominant motif.<\/p>\n The unnameable demands keep going, going on. Call that going. Call that on.<\/p>\n As this town progresses from mocking to panic to resignation to continuing. Against all<\/p>\n odds, as the narrator of text 10 insists, no, no souls or bodies or birth<\/p>\n or life or death. You’ve got to go on without any of that junk that’s all dead with words,<\/p>\n with the except with excess of words. Commenting on catastrophic, Nelson sums up with what he sees<\/p>\n as becketts mindset. Beckett is about going on persisting however much you reduce<\/p>\n somebody to an object, a victim. There is this resilience and persistence of the human spirit.<\/p>\n Despite initial appearances to the contrary, affirmation is strong, even in catastrophic.<\/p>\n The late play, which is often read as prophetic of Vaclav Hubbell’s, being freed<\/p>\n from prison and becoming president of Czechoslovakia. Perhaps unsurprisingly,<\/p>\n when Harvill arrived invents a PS+ square to assume the presidency, posters<\/p>\n proclaimed and students chanted. Coulddo is here<\/p>\n as if seeking to reprise the Bortoli inventory that plays out in happy days and not idea<\/p>\n autocratic D in Kent and catastrophist, which stands<\/p>\n for Director Dictator Whoknows seeks to mold and reduce in a mobilized<\/p>\n stage figure p. prisoner protagonist in order to effect an almost<\/p>\n to pop to power d dehumanizes anesthetic sizes p by<\/p>\n dividing him into a set of discrete body parts serial sniper keys<\/p>\n which he manipulates and drains of color, hands exposed joined whiteand creamy<\/p>\n cranium white and toes exposed head down, neck, shins, knees bared<\/p>\n and whitened at the end of the play. As a writer posits, the dress rehearsal<\/p>\n becomes the performance with a surreal intrusion of a play audience’s reaction, a<\/p>\n canned burst of applause. But that’s not quite the end.<\/p>\n T startlingly challenges and thwarts d intention when breaking the<\/p>\n frame, he courageously and defiantly raises his head and stares down<\/p>\n both the eerily summoned audience whose applause we suddenly here and the<\/p>\n actual audience in the theater piece gesture may seem hard to read at first,<\/p>\n but Beckett was clear in his own mind about it. There is no ambiguity<\/p>\n there at all, he said. He’s saying, you bastards. You haven’t finished with me yet.<\/p>\n Like Joyce’s Leopold Bloom, standing up to the xenophobic citizen in Chapter 12 of Ulysses<\/p>\n Peace Action is, among other things, a noble and heroic act of self-assertion,<\/p>\n a political and theatrical resistance to the surreal violence that D has<\/p>\n sought to impose on him. By so doing, he reclaims<\/p>\n his various ports, thereby reasserting not only his figural reality and meaning,<\/p>\n but also his humanity and wholeness. It’s the sort of ultimate maneuver<\/p>\n that numerous Beckett characters make, not only the Unnamable, but also Winny<\/p>\n when she stares down and sings to Willie as he reaches for a gun at the end of happy days.<\/p>\n The figures in play when they prepare to reprise their narratives interminably<\/p>\n the mouth and not I when she continues her own and her unending narrative, even<\/p>\n as it becomes unintelligible behind the curtain. For Beckett, the world is<\/p>\n a cruel cosmic joke and the best one can do is to look squarely at reality<\/p>\n and courageously defy it. Persistence and suffering may not be much to hang one’s head on,<\/p>\n but it seems to have sufficed for Beckett and for many of his characters. For all of his surrealist<\/p>\n affinity, Beckett endows his characters with resources sufficient to endure<\/p>\n and transcend the limitations imposed upon them by their surreal circumstances.<\/p>\n Thank you.<\/p>\n"},"episode_featured_image":false,"episode_player_image":"https:\/\/podcasts.la.utexas.edu\/british-studies-lecture-series\/wp-content\/uploads\/sites\/4\/2017\/09\/british-studies.png","download_link":"https:\/\/podcasts.la.utexas.edu\/british-studies-lecture-series\/podcast-download\/142\/samuel-beckett-joycean-and-surreal.mp3","player_link":"https:\/\/podcasts.la.utexas.edu\/british-studies-lecture-series\/podcast-player\/142\/samuel-beckett-joycean-and-surreal.mp3","audio_player":"