Samuel Beckett, Molloy ( New York, 1955), p. 182.
Ruby Cohn in Samuel Beckett: The Comic Gamut ( New Brunswick, N.J., 1962), p. 95.
Samuel Beckett, Proust ( London, 1931.), p. 1. See also Cohn, The Comic
Gamut, p. 95.
Samuel Beckett, Dream of Fair to Middling Women ( Dublin, 1992),
The details of Beckett's switch from English to French have been noted
and collected by a number of his earliest critics. See especially Cohn, The Comic
Gamut, p. 95; Israel Shenker, "Moody Man of Letters", New York Times, May
6, 1956, sec. 2., p. 3; and Richard Coe, Samuel Beckett, rev. ed. ( New York, 1968), p. 14. See also in Dream of Fair to Middling Women, pp. 48, 64, 118.
Quoted from " Samuel Beckett: Silence to Silence," a film documentary
produced and directed for Radio Teleftís Éireann by Sean O'Mordha ( 1987). In 1953 Beckett told Loly Rosset that the first part of Molloy "certainly doesn't take
kindly to English," but added, "I don't think it stinks too much of translation.
Samuel Beckett, From an Abandoned Work, in Collected Shorter Prose,
1945-1980 ( London, 1984), p. 129.
See Jacques Derrida, Of Grammatology, trans.
Gayatri Chakravorty Spivak
( Baltimore, Md., 1974), pp. 6-8, and
Gérard Genette, Fiction and Diction,
Catherine Porter ( Ithaca, N.Y., 1993).
Samuel Beckett, "Dante . . . Bruno. Vico. . . Joyce", in Our Exagmination Round His Factification for Incamination of Work in Progress ( Paris, 1929),
Samuel Beckett, The Unnamable ( New York, 1958), p. 157.
See Lawrence E. Harvey, Samuel Beckett, Poet and Critic ( Princeton, N.J., 1970), pp. 348-50; and Cohn, The Comic Gamut, p. 65.
For these reactions to Beckett's early prose work published in the thirties,
see the unsigned review in the Times Literary Supplement, July 26, 1934, p. 526; Edwin Muir, "New Short Stories", The Listener, July 4, 1934, p. 42; and Dylan Thomas
, "Recent Novels", New English Weekly 12, March 17, 1938, p. 454.