Catalogue > By Keyword > narrative
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Molloy, Malone Dies, The Unnamable
The trilogy of novels by Samuel Beckett is his best known work outside the theatre, dating from the same period as Waiting for Godot, and as such is central to the main body of his work. This new edition has been corrected from the errors that appeared in some previous editions. Many people believe it to be the most important volume of prose in the English language after Joyce’s Ulysses, although written originally in French, a language that the author adopted to escape from the richness of Irish speech rhythms.
Most critics today consider the trilogy to be Beckett’s major achievement, more controlled than the brilliant early work, more easily readable than the complex How It Is and the later plays and texts. Malloy has two parts, the parallel narratives of the old Molloy, passing time by telling himself stories and remembering his past journeys, and of the waspish Moran, a private detective sent to find him, whose deterioration during his quest bears a strange similarity to Molloy’s. Malone Dies appears to be a continuation of Molloy’s narrative, only this time the speaker knows that the end is almost at hand. The additional poignancy of the stories he tells himself is largely related to the sense of time running our, and the prose seems heightened from the earlier book. In the third novel The Unnamable, the narrator, again under a different name or names, is aware of the approaching silence and tries to keep it at bay with thoughts, reveries, stories and inventions. The prose undergoes a complete change as we find ourselves listening to the sounds of panic, written in a punctuation of the human breath that the narrator has ever greater difficulty in drawing into his lungs, while the mind races giddily ever faster. The end is terrifying, bu t finishes, strangely, on a note of hope. Molloy has been translated by Patrick Bowles in collaboration with the author, the rest of the trilogy by Mr Beckett himself.
Cannibal O
A typeface narrative revolving around an I, a pair of ravenous eyes, a mouth, and a peptic ulcer called O.
Passion
Passion takes up the theme of sacrifice that plays through all the work of the company, leading its audience into a re-enactment of the Stations of the Cross.
In the glass cabinet.
In a Queer Time and Place: Transgender Bodies, Subcultural Lives
Examines the significance of the transgender body and presents a series of case studies focused on the meanings of masculinity in its dominant and alternative forms – especially female and trans-masculinities as they exist within subcultures, and are appropriated within mainstream culture.
Part of the Library of Performing Rights (P3041)
Kissing the Shotgun Goodnight
Soundtrack and audiobook of the neo-noir fever dream and 120 decibel suicide note.
In glass cabinet.
Inter Views in Performance Philosophy: Crossings and Conversations
Offers a glimpse of new perspectives on how philosophy performs in the gaps between thinking and acting.
The Silent Cinema Reader
A comprehensive resource of key writings on early cinema, addressing filmmaking practice, film form, style and content, and the ways in which silent films were exhibited and understood by their audiences, from the beginnings of film in the late nineteenth century to the coming of sound in the late 1920s.
No Future: Queer Theory and the Death Drive
Argues that the child, understood as innocence in need of protection, represents the possibility of the future against which the queer is positioned as the embodiment of a relentlessly narcissistic, antisocial, and future-negating drive. Boldly insists that the efficacy of queerness lies in its very willingness to embrace this refusal of the social and political order.
Women, the arts and globalization
The essays in Women, the Arts and Globalization demonstrate that women in the arts are rarely positioned at the centre of the art market, and the movement of women globally (as travelers or migrants, empowered artists/scholars or exiled practitioners), rarely corresponds with the dominant models of global exchange. Rather, contemporary women’s art practices provide a fascinating instance of women’s eccentric experiences of the myriad effects of globalization.
From Acting to Performance: Essays in Modernism
Surveys the changes in acting and performance during the crucial transition from the ecstatic theatre of the 1960s to the ironic postmodernism of the 1980s.
