quote by Samuel Beckett

The sun shone, having no alternative, on the nothing new.

— Samuel Beckett

Joyful Beckett quotations

It is useless not to seek, not to want, for when you cease to seek you start to find, and when you cease to want, then life begins to ram her fish and chips down your gullet until you puke, and then the puke down your gullet until you puke the puke, and then the puked puke until you begin to like it.

Gertrude Stein, all courage and will, is a soldier of minimalism.

Her work, unlike the resonating silences in the art of Samuel Beckett, embodies in its loquacity and verbosity the curious paradox of the minimalist form. This art of the nuance in repetition and placement she shares with the orchestral compositions of Philip Glass.

I don't think there's been any writer like Samuel Beckett.

He's unique. He was a most charming man and I used to send him my plays.

As Beckett said, it's not enough to die, one has to be forgotten as well.

Food is a necessary component to life.

People can live without Renoir, Mozart, Gaudi, Beckett, but they cannot live without food.

Beckett does not believe in God, though he seems to imply that God has committed an unforgivable sin by not existing.

Nothing is funnier than unhappiness.

According to Beckett's or Kafka's law, there is immobility beyond movement: beyond standing up, there is sitting down, and beyond sitting down, lying down, beyond which one finally dissipates.

It's so nice to know where you're going, in the early stages.

It almost rids you of the wish to go there.

I am not interested in living in a city where there isn't a production by Samuel Beckett running.

When the animal becomes human, the effect is pleasingly benign and we laugh outloud, "Okay come clean now. This isn't really about hunting, is it?" But when the human becomes animal, the effect is disgusting, and if we laugh at all, then it is what Beckett calls the "mirthless laugh", which laughs at that which is unhappy.

Samuel Beckett once said, "Every word is like an unnecessary stain on silence and nothingness." ...On the other hand, he SAID it.

Where do I begin? I loved working with Kate Hepburn, which was one of the highlights of my life; Working with Richard Burton in Beckett was another great joy.

I don't know if [Samuel] Beckett is something you ever bring to the beach - get out of the water, towel off, and start reading some of "The Unnamable." Although, because it's the kind of book you can open to any page and start reading, it is beach reading in that way.

People ask me all the time, "What are your influences? Are you trying to do Beckett?" It's like, "No, I'm trying to do me." Whatever that is. I don't know what that is, but that's the basis. I'm trying to be true and I'm trying to be honest.

Beckett had an unerring light on things, which I much appreciated.

Throughout the 1960s and 1970s devoted Beckett readers greeted each successively shorter volume from the master with a mixture of awe and apprehensiveness; it was like watching a great mathematician wielding an infinitesimal calculus, his equations approaching nearer and still nearer to the null point.

Samuel Beckett's 'Waiting for Godot,' billed as 'the laugh sensation of two continents,' made its American debut at the Coconut Grove Playhouse, in Miami, Florida, in 1956. My father, Bert Lahr, was playing Estragon, one of the two bowler-hatted tramps who pass the time in a lunar landscape as they wait in vain for the arrival of a Mr. Godot.

The first play I saw was a Samuel Beckett play which was great.

Ibsen, Chekhov, Shakespeare, and Beckett to me are the most revolutionary.

He [Samuel Beckett] is great, a very great writer.

Any modern writer is bound to be influenced by [James] Joyce. Of course, by Beckett as well.

Notable American Women is a weird nougat of a book that suggests Coetzee, Kafka, Beckett, Barthelme, O'Brien, Orwell, Paley, Borges-and none of them exactly. Finally you just have to chew it for its own private juice.

In Kamby Bolongo Mean River damage and delusion walk hand in hand, and everything we think we know is gradually called into question. Reading like a cross between Samuel Beckett's 'The Calmative' and Gordon Lish's Dear Mr. Capote, Robert Lopez's new novel gets under your skin and latches on.

I have 800 books of just Samuel Beckett's work, tons of his correspondence, personal letters that he wrote. I have copies of plays he used when he directed, so all of his handwritten notes are in the corners of the page.

Each writer is born with a repertory company in his head.

Shakespeare has perhaps twenty players, and Tennessee Williams has about five, and Samuel Beckett one - and maybe a clone of that one. I have ten or so, and that's a lot. As you get older, you become more skillful at casting them.

The twentieth century French dramatist Jean Anouilh wrote a play about Beckett which was made into a film in the 1960

I would say recently I've gotten back to perusing [Samuel] Beckett's novels.

Listening to the way Donald Trump speaks without saying anything has made me think about language.

At Princeton I wrote my junior paper on Virginia Woolf, and for my senior thesis I wrote on Samuel Beckett. I wrote some about "Between the Acts" and "Mrs. Dalloway'' but mostly about "To the Lighthouse." With Beckett I focused, perversely, on his novels, "Molloy," "Malone Dies," and "The Unnamable." That's when I decided I should never write again.

Samuel Beckett is the person that I read the most of - certainly the person whose books I own the most of. Probably 800 or 900, maybe 1,000 books of just Samuel Beckett. By him, about him, in different languages, etc. etc. Notebooks of his, letters of his that I own, personal letters - not to me, but I bought a bunch of correspondence of his. I love his humor, and I'm always blown away by his syntax and his ideas. So I keep reading those.

Unfortunately, I'm not a history buff.

I don't read biographies, except of some of those writers whom I've collected over the years - particularly Samuel Beckett and Henry Miller, people like Charles Bukowski and John Fante and David Foster Wallace.

[Contemporary writer] could be a kind of [Samuel] Beckett who would not be felt to be totally committed to despair.

I admire [Samuel] Beckett, but I am totally against him. He seeks no improvement.

I went and saw him [ John Hurt ] here in L.

A.He did a one-man Beckett show of Krapp's Last Tape. I went back and saw him afterwards, and what an actor he is. He is so gifted.

When I was a very young student I loved and admired the work of Sam Beckett, who is famously pessimistic, and whose writing is an extraordinary examination of emptiness. I wanted to be like Beckett. I don't have the same attitude toward the world, I'm naturally optimistic, and so of course I could never be like Beckett. You can't force yourself to become like someone you admire.

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