This is a fresh, comprehensive critical study of Samuel Beckett's first and best-known dramatic work, Waiting for Godot, which has become one of the most frequently performed, widely discussed, and influential plays in the history of the theatre. Professor Graver discusses the play's background and provides a detailed analysis of its originality and distinction as a landmark of modern theatrical art. He reviews some of the differences between Beckett's original French version and his English translation, and discusses the liberating influence of Godot on such important playwrights as Harold Pinter, Tom Stoppard, and Athol Fugard.
Lawrence Stanley Graver was a distinguished scholar and beloved professor of English at Williams College, noted for his work on 19th- and 20th-century English and American literature, contemporary fiction, drama, and American Jewish literature. A veteran of the Korean Conflict, he earned his B.A. at City College of New York and his M.A. and Ph.D. at the University of California, Berkeley, where he met his wife, Suzanne Levy. Graver contributed widely to public literary discourse, including influential reviews in the New York Times Book Review, and authored acclaimed books on Kazuo Ishiguro, Anne Frank, Samuel Beckett, Joseph Conrad, and Carson McCullers. Renowned for his wit, insight, and generosity, he shaped generations of students and was cherished as a teacher, scholar, husband, father, and grandfather.
Didn't quite present to me much that was groundbreaking to affect my thoughts on the play itself, but this critical essay is worthwhile for its tracing of Beckett's development as a writer, its global picture of the reactions to and influence of Waiting for Godot, and the clear and insightful way Graver explores Beckett's themes and intentions in this play (in the context of his literary life) which seems almost to attempt escape from itself.
Lots of insightful remarks are made in this comprehensive critical study of Beckett's first and most boring and at the same time influential play Waiting for Godot
"Waiting for Godot, then, is a play not about Godot – who he is or whether he will ever arrive – but about waiting; or, to be more precise, about what people do while they wait. In this regard, Beckett’s French title, En attendant Godot, While Waiting for Godot, is a more precise rendering than the title he gave to his English translation."
I read this directly after reading Waiting for Godot so that I could immediately recall parts of the play, and I will be reading the play again right away so that I can apply so much of what I've learned.
Personally, I gained the most out of the first half of the book. The Genesis and Reception was fascinating, and putting myself in Beckett's time brought a lot to my understanding of the play's brilliance. Chapter Two, Approaching the Play, was what I was looking for, a more in-depth, structured study of Waiting for Godot. (Which I might re-read, actually.)
The second half of the book, although not was I went searching for, was surprisingly fascinating as I learned more about the French and English differences. His Directing changed when the play went to stage, and the humour is altered, perhaps darker in the English version. I also need to brush up on my French.
The last part of the book covers words and playwrights that were influenced by Godot and Beckett's work. In fact, you could base a whole course around the following plays and how they were inspired by Beckett.
Not considered a light read for the average person, if you really want to dig your teeth into Waiting for Godot, this book is the perfect companion.
I read this in high school senior English, and it resonated with me at the time. It frustrated me, it made me question belief, and ultimately, I remember it. :)