Chapters in this book

1. Frontmatter i
2. Contents v
3. Figures vii
4. Notes on Contributors viii
5. Introduction 1
6. Part I Beckett’s Self-Translations
7. 1 ‘. . . bouche en feu . . .’: A Genetic Manuscript Study of Samuel Beckett’s Self-Translation of Not I 19
8. 2 Tracing Translation: The Genesis of Comédie and Film (fr) 39
9. 3 The Self-Translation of the Representation of the Mind in Samuel Beckett’s Trilogy 55
10. 4 Vagaries of Bilingualism. A Curious Case of Beckett’s Translations of his Own Poems 75
11. 5 Literal Translation vs. Self-Translation: The Beckett–Pinget Collaboration on the Radio Play Cendres (Embers) 91
12. Part II Beckett’s Translations of Other Authors
13. 6 Esperando a Goethe: Translation, Humanism and ‘Message from Earth’ 107
14. 7 ‘A stone of sun’: José Juan Tablada’s Poems in Samuel Beckett’s Translation 123
15. 8 Translation’s Challenge to Lyric’s Immediacy: Beckett’s Rimbaud 141
16. 9 Are Beckett’s Texts Bilingual? ‘Long after Chamfort’ and Translation 157
17. Part III Beckett’s Poetics of Translation
18. 10 Au plaisir: Beckett and the Neatness of Identifications 175
19. 11 A Poetics of the Doppelgänger: Beckett as Self-Translator 193
20. 12 Tuning Absent Pianos: Watt and the Poetics of Translation 209
21. 13 ‘The absolute impossibility of all purchase’: Property and Translation in Beckett’s Postwar Prose 223
22. Part IV Commentary
23. Some Remarks on a Sentence in A Piece of Monologue 241
24. The Third Language of Translation 245
25. From All that Fall to Stirrings Still 247
26. Beckett Translating 251
27. Index 256