Abstract
The product of a 2009 symposium at the University of Sussex, Beckett and Musicality follows the growing scholarly attention shown to Samuel Beckett’s sonic proclivities since Mary Bryden’s edited collection Samuel Beckett and Music (New York and Oxford, 1998) first appeared. Lois Oppenheim’s Samuel Beckett and the Arts soon followed (New York, 1999), together with Eric Prieto’s Listening In: Music, Mind, and the Modernist Narrative (Lincoln, Nebr., 2002), Daniel Albright’s Beckett and Aesthetics (Cambridge, 2003), and Franz Michael Maier’s German-language monograph Becketts Melodien: Die Musik und die Idee des Zusammenhangs bei Schopenhauer, Proust und Beckett (Würzburg, 2006).