Cover -- Title Page -- Copyright Page -- Table of Contents -- Introduction -- PART I: DEBTS -- BECKETT IN THE COUNTRY OF THE HOUYHNHMS: The Transformation of Swiftian Satire -- "DELITE IN SWYNES DRAF": Husks and Lees, Sugarbeet Pulp and Roses in Samuel Beckett's "D raff" -- "THE ITALIANATE IRISHMAN": The Role of Italian in Beckett's Intratextual Multilingualism -- REINCARNATIONS OF JOYCE IN BECKETT'S FICTION -- "FIRST LOVE": Abortion and Infanticide in Beckett and Yeats -- MAETERLINCK AND BECKETT: Paying Lip-Service to Silence -- "ACCURSED PROGENITOR!" Fin de partie and Georges Bataille -- FROM NARCISSISTIC ISOLATION TO SADISTIC PSEUDOCOUPLES: Tracing the Genesis of Endgame -- STAGING PSYCHOANALYSIS: Endgame and the Freudian Theory of the Anal-Sadistic Phase -- SEXUAL AND AESTHETIC REPRODUCTION IN MALONE DIES -- BECKETT AND PHILOSOPHY, 1928-1938 -- SAMUEL BECKETT'S DEBT TO ARISTOTLE: Cosmology, Syllogism, Space, Time -- TOWARDS AN ANALYSIS OF GEULINCX AND THE UR -WATT -- BUNYAN AND BECKETT: The Legacy of Pilgrim's Progress in Mercier and Camier -- "NOR BY THE EYE OF FLESH NOR BY THE OTHER": Fleshly, Crea tive and Mystical Vision in Late Beckett -- BREATH AS VANITAS: Beckett's Debt to a Baroque Genre -- PART II: LEGACIES -- BECKETT AND THE LOUTISHNESS OF LEARNING -- "STUCK IN A STAGGER": Beckett and Cixous -- "WHAT DOES IT MATTER WHO IS SPEAKING," SOMEONE SAID, "WHAT DOES IT MATTER WHO IS SPEAKING": Beckett, Foucault, Barthes -- REST OF STAGE IN DARKNESS: Beckett, his Directors and Place -- BECKETT - FRISCH - DÜRRENMATT -- WHERE NOW?: A Few Reflections on Beckett, Robert Smithson, and the Local -- "SPLENDID LITTLE PICTURES": Leibnizian Terminology in the Works of Samuel Beckett and Carlo Emilio Gadda -- ART OF NOISE: Beckett's Language in a Culture of Information -- BECKETT'S BARBOUILLAGES -- Interview -- AN INTERVIEW WITH DR ROSEMARY POUNTNEY.

FREE SPACE -- BEAUFRET, BECKETT, AND HEIDEGGER: The Question(s) of Influence -- BREATH AND THE TRADITION OF 1960's NEW REALISM: Between Theatre and Art -- THE METRONOME OF CONSCIOUSNESS -- L'ÉCRITURE APHASIQUE DE SAMUEL BECKETT -- HAPTIC INTERFACES: The Live and the Recorded Body in Beckett's Eh Joe on Stage and Screen -- Notes on Contributors.