By George Saunders
A suite of brief tales and essays.
*My accountable Pleasures
*A Survey of the Literature
*The nutrients Fundamentalist
*Flooding the Zone
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Additional info for A Bee Stung Me, So I Killed All the Fish (Notes from the Homeland, 2003-2006)
We stick to the turn for the time being. Starting with “Sweet mother earth,” the scene is being played in context until the exit of Pozzo and Lucky. When Estragon and Vladimir—all lying on the ground—shout,”Pozzo,” Beckett slips in a small alteration. Instead of speaking all the time toward the back, toward Pozzo, Estragon should say his “We might try him with other names” directly to Vladimir. There is thus a small intimate moment of conspiracy created at this point, which is reminiscent of similar moments throughout the play.
18 But mind—in this instance Lucky—remains an encumbrance to Pozzo, who has given up hope of selling him. ” If Estragon can’t raise Lucky by pulling on the rope, Pozzo recommends giving “him a taste of his boot, in the face and the privates as far as possible” (p. 56). As absurd hero and prophet, Pozzo is far more furious than joyful, and we see that fury exhibited in his climactic speech in which he finds Vladimir’s questions about time “abominable” (p. 57). But the abominations of time are now Vladimir’s, not his.
It is broadly based on ancient strands of the Western tradition and has its exponents in Britain, Spain, Italy, Germany, Switzerland, Eastern Europe and the United States as well as in France. Moreover, its leading practitioners who live in Paris and write in French are not themselves Frenchmen. As a powerhouse of the modern movement, Paris is an international rather than a merely French centre: it acts as a magnet attracting artists of all nationalities who are in search of freedom to work and to live nonconformist lives unhampered by the need to look over their shoulder to see whether their neighbours are shocked.
A Bee Stung Me, So I Killed All the Fish (Notes from the Homeland, 2003-2006) by George Saunders