Part 7 (2/2)
”From an Abandoned Work,” Breath and Other Shorts (London: Faber and Faber, 1971), 39-48.
”From an Abandoned Work,” First Love and Other Shorts (New York: Grove Press, 1974).
”From an Unabandoned Work,” Evergreen Review 4.14 (September-October 1960): 58-65. [A portion of the novel How It Is.]
”Heard in the Dark 1,” New Writing and Writers 17 (London: John Calder [Publishers] Ltd., 1979). [An early extract from the novel Company.]
”Heard in the Dark 2,” Journal of Beckett Studies, No. 5 (autumn 1979). [As above.]
”L'Image,” X: A Quarterly Review 1.1 (November 1959): 35-37. [”An extract written on the way to Comment c'est” (How It Is). See ”A Note on the Texts” and see also James Knowlson's letter to The Times (23 May 1988).]
”Imagination Dead Imagine,” Evergreen Review 10.39 (February 1966): 48-49.
”Imagination Dead Imagine,” Sunday Times, 7 November 1965, p. 48.
Imagination Dead Imagine, (London: John Calder [Publishers] Ltd., 1965). [The ”Other Works” page announces a forthcoming volume as Stories and Texts for Nothing, but the volume with the addition of four more stories is finally published by Calder as No's Knife, q.v.]
”Imagination Dead Imagine,” Evergreen Review 10.39 (February 1966): 48-49.
”Imagination Dead Imagine,” First Love and Other Shorts (New York: Grove Press, 1974). [Reprinted in I can't go on, I'll go on, ed. by Richard Seaver (New York: Grove Press, 1976), 551-54.]
”Imagination Dead Imagine,” Samuel Beckett Reader, ed. by John Calder (London: Calder and Boyars, 1967), 186-89.
”Jem Higgins' Love-Letter to the Alba,” New Durham (June 1965): 10-11. [Fragment of Dream of Fair to Middling Women]
”Lessness,” The Evergreen Review 14.80 (July 1970): 35-36.
Lessness (Signature Series: Signature 9) (London: Calder and Boyars, 1970).
”Lessness,” I can't go on, I'll go on, ed. by Richard Seaver (New York: Grove Press, 1976), 555-61.
The Lost Ones (London: Calder and Boyars, 1972). [Written in 1966, between ”Enough” and ”Ping,” final paragraph added in 1970.]
The Lost Ones (New York: Grove Press, 1972). [As above.]
No's Knife: Collected Shorter Prose 1945-1966 (London: Calder and Boyars, 1967, reprinted 1975). [Three ”stories”-”The Expelled,” ”The Calmative,” and ”The End,”-the 13 Texts for Nothing, and four Residua-”From an Abandoned Work,” ”Enough,” ”Imagination Dead Imagine,” and ”Ping.”]
”One Evening,” Journal of Beckett Studies, No. 6 (autumn 1980). [An early version of the novel Mal vu mal dit (Ill Seen Ill Said.)]
”One Evening,” New Writers and Writing 20 (London: John Calder [Publishers] Ltd., 1983).
”One Evening,” art press, No. 51 (September 1981): 4.
”Ping,” Encounter 28.2 (February 1967): 25-26. [Facsimile of ma.n.u.script version of ”Bing,” Richard L. Admussen, The Samuel Beckett Ma.n.u.scripts: A Study (Boston: G. K. Hall, 1979), 132-48.]
”Ping,” First Love and Other Shorts (New York: Grove Press, 1974).
”Return to the Vestry,” New Review (August-September-October 1931): 98-99.
”Sedendo et Quiescendo,” transition: An International Workshop for Orphic Creation 21 (March 1932): 13-20. [Fragment of Dream of Fair to Middling Women printed as ”Sedendo et Quiesciendo.”]
Six Residua (London: John Calder [Publishers] Ltd., 1978). [Includes: ”From an Abandoned Work,” ”Enough,” ”Imagination Dead Imagine,” ”Ping,” ”Lessness,” and The Lost Ones.]
”The Smeraldina's Billet-Doux,” Zero Anthology of Literature and Art, No. 8, ed. Themistocles Hoetis (New York: Zero Press, 1956), 56-61. [One of the More p.r.i.c.ks Than Kicks stories.]
”Sounds,” Essays in Criticism 28.2 (April 1978): 156-57. [Along with ”Still 3,” a variant on ”Still.”]
”Still,” Signature Anthology: Signature 20 (London: Calder and Boyars, 1975).
”Still 3,” Essays in Criticism 28.2 (April 1978): 156-57. [Along with ”Sounds,” a variant on ”Still.”]
”Stirrings Still,” The Guardian, 3 March 1989: 25.
Stirrings Still (New York: North Star Line, 1993).
Stories and Texts for Nothing, with drawings by Avigdor Arikha (New York: Grove Press, 1967). [Three ”stories”: ”The Expelled,” ”The Calmative,” and ”The End.” The Arikha drawings appeared in the second French edition (1958) and the first American edition. The British edition of these stories published in No's Knife does not reproduce the Arikha drawings.]
”Text,” New Review (winter 1931-32): 338-39. [Poem from The European Caravan, to be distinguished from ”Text” below.]
”Text,” New Review 2 (April 1932): 57. [Reprinted in Ruby Cohn, Samuel Beckett: The Comic Gamut (New Brunswick: Rutgers University Press, 1962), 340. Fragment of Dream of Fair to Middling Women.]
”Text for Nothing I,” Evergreen Review 3.9 (summer 1959): 21-24.
”Texts for Nothing VI,” The London Magazine (New Series) 7.5 (August 1967): 47-50.
”Texts for Nothing XII,” The Transatlantic Review 24 (spring 1967): XX.
Texts for Nothing (Signature Series: Signature 21) (London: Calder and Bo-yars, 1974). [The only separately published edition of these stories. See also No's Knife above.]
”Yellow,” New World Writing 10 (November 1956): 108-119. [One of the More p.r.i.c.ks Than Kicks stories.]
[The following are designated as excerpts and not as separate stories: Portions of Watt have appeared in Envoy: A Review of Literature and Art 1.2 (January 1950); Irish Writing 17 (December 1951) and 22 (March 1953); and Merlin 1.3 (winter 1952-53). Portions from Beckett's ”Trilogy” have appeared as follows: Molloy, Transition Fifty 6 (1950); Paris Review 5 (spring 1954); New World Writing No. 5 (April 1954); Malone Dies, transition (1950), Irish Writing 34 (1954); The Unnamable, Spectrum 2.1 (winter 1958); Chicago Review 12.2 (summer 1958); The Texas Quarterly 1.2 (spring 1958).]
Ill.u.s.trated Editions of Short Prose.
All Strange Away, with ill.u.s.trations by Edward Gorey (New York: Gotham Book Mart, 1976). [An edition authorized for the Estate of Jack MacGowran.]
Au loin un oiseau [Afar a bird], with etchings by Avigdor Arikha (New York: Double Elephant Press, 1973).
Bing (Ping), with ill.u.s.trations by H. M. Erhardt (Stuttgart: Ma.n.u.s Presse, 1970). [8 blind-relief impressions in an edition of 50 numbered copies. Erhardt also produced ill.u.s.trations for Ma.n.u.s Presse of ”Act Without Words” I and II (1965), ”Come and Go” (1968), and Watt (1971).]
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