Quotes About Beckett

Nothing matters but the writing. There has been nothing else worthwhile... a stain upon the silence.

a shallow embankment. It was upright but canted

Jeder wusste, dass Sophie Beckett ein Bankert war.

Beckett despite his professed preference for Racine, is master and victim, and as such pervades Beckett's canonical drama, Endgame. Beckett's Hamlet follows the French model, in which excessive consciousness negates action, which is at some distance from Shakespeare's Hamlet.

It shouldn't be a surprise—and it pleases me no end—that Beckett was an avid cyclist. "The bicycle is a great good," he once wrote. "But it can turn nasty, if ill employed.

I don't think there's been any writer like Samuel Beckett. He's unique. He was a most charming man and I used to send him my plays.

My own passion for caravan holidays has been occasionally commented on by the media. It is certainly something that I am proud of.

And when Deirdre Bair went to interview Beckett for the biography the first thing he said was, 'So you've come to demonstrate that it was all, after all, autobiographical.

All writing is a sin against speechlessness,' Beckett had said. He would have stopped, I thought, if he could.

This is the real power of joy, to make us certain that, beneath all grief, the most fundamental of realities is joy itself.

A young Mexican student in Paris—the unknown and yet to be published Octavio Paz—approached Beckett with a proposal to translate one hundred poems by thirty-five Mexican writers. This would be financed, as a worthy cultural project, with funds from UNESCO.

But there is a singular connection between Samuel Beckett, "the grammarian of solitude," sunk in his comical Irish gloom, hiding in a tiny apartment in Paris, and the condition of Manuel Othón, the late-nineteenth-century Mexican recluse, brooding in the parched wasteland in the middle of Mexico. Seemingly at a loss for words around 1900, Othón, in a despairing poem, wrote the Beckett-like line "the desert, the desert and the desert.

I'd never done any Beckett before 'Krapp,' and I haven't done any of his other plays since. I've always felt that 'Krapp' is an autobiographical piece.

The gods and heroes of the old myths fade away and give place to people like ourselves. In Shakespeare we can still have heroes who can see ghosts and talk in magnificent poetry, but by the time we get to Beckett's Waiting for Godot they're speaking prose and have turned into ghosts themselves.