“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 manuscript version of “Bing,” Richard L. Admussen, The Samuel Beckett Manuscripts: 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 Pricks 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 Pricks 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).]
Illustrated Editions of Short Prose
All Strange Away, with illustrations 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 illustrations by H. M. Erhardt (Stuttgart: Manus Presse, 1970). [8 blind-relief impressions in an edition of 50 numbered copies. Erhardt also produced illustrations for Manus Presse of “Act Without Words” I and II (1965), “Come and Go” (1968), and Watt (1971).]
Foirades/Fizzles, with etchings by Jasper Johns, ed. by Véra Lindsay (New York: Petersburg Press, 1976). [This edition contains only fizzles 4, 1, 6, 5, and 2 of the Grove Press arrangement.]
“Trial Proofs for Foirades/Fizzles,” Foirades/Fizzles: Echo and Allusion in the Art of Jasper Johns (Los Angeles: The Grunwald Center for the Graphic Arts, University of California, Los Angeles, 1987), 235—310. [74 plates.]
Foirades/Fizzles, Whitney Museum of American Art catalogue, 11 October 20 November 1977. [Includes the texts “I gave up before birth” and “J’ai renoncé avant de naître.”]
From an Abandoned Work, with illustrations by Max Ernst (Stuttgart: Manus Presse, 1969). [A trilingual edition.]
Imagination Dead Imagine, with illustrations by Sorel Etrog (London: John Calder [Publishers] Ltd., 1977).
L’Issue, with six original engravings by Avigdor Arikha (Paris: Les Editions Georges Visat, 1968). [A passage from Le Dépeupleur (The Lost Ones).]
The Lost Ones, with illustrations by Charles Klabunde (Stamford, CT: New Overlook Press, 1984).
“The Lost Ones,” illustrated by Philippe Weisbecker, Evergreen Review, No. 96 (Spring 1973): 41—64. [See particularly “the north,” p. 59, and compare below.]
The North, with etchings by Avigdor Arikha (London: Enitharmon Press, 1972). [Excerpt from The Lost Ones.]
Séjour, with engravings by Louis Maccard from the original drawings by Jean Deyrolle (Paris: G. R. [Georges Richar], 1970). [A passage from Le Dépeupleur (The Lost Ones). Engravings completed by Maccard when Deyrolle died in mid-project.]
Still, with etchings by William Hayter, ed. by Luigi M. Majno (Milan: M’Arte Edizione, 1974).
Stirrings Still, with illustrations by Louis le Brocquy (New York: Blue Moon Books, 1988 and London: John Calder [Publishers] Ltd., 1988). [Collector’s edition limited to 200 copies.]
Stirrings Still (New York: North Star Line, 1993). [Only trade edition with le Brocquy illustrations.]
Stories and Texts for Nothing, with drawings by Avigdor Arikha (New York: Grove Press, 1967). [First American edition and second French edition (1958) include the Arikha illustrations.]
SAMUEL BECKETT was born on April 13, 1906, in Foxrock, near Dublin, Ireland. In the late 1920s he went to Paris, where he began writing both prose and poetry. Until 1945 he wrote in English but thereafter began to write directly in French, and much of his major work was written in his adopted tongue. His translations of his own work into English are in themselves works of art. He was awarded the Nobel Prize for Literature in 1969, and his literary output, including plays, novels, stories, and poems, has earned him the reputation of being one of the most important writers of our time. He died in 1989.
About the Type
This book was set in Centaur, a typeface designed by the American typographer Bruce Rogers in 1929. Centaur was a typeface that Rogers adapted from the fifteenth-century type
of Nicholas Jenson and modified in 1948 for a cutting by the Monotype Corporation.
Samuel Beckett, The Complete Short Prose, 1929-1989
(Series: # )
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