By Rosa Ainley
2 Ennerdale force is a memoir of a home and the family members that lived there; a piece of textual content and photograph encompassing structure, social and private heritage, city making plans, images and illustration, carving an area inside and among new different types of memoir, cultural stories and artistic non-fiction. the home in north London, outfitted in the course of the extra special interwar wave of suburban improvement, starts off an exploration of private and non-private lives, architectural and relatives narrative, charting territory among documented proof, own and cultural reminiscence, organization and emotional reaction. 2 Ennerdale force questions the veracity accorded to files produced throughout institutional, private and non-private relations contexts. Textual analyses of pictures on the subject of the home, the relatives (and its company: theatre) body each one bankruptcy, producing tales and responses to the authentic and the remembered. Visits to information and to different homes rfile the lifestyles and/or absence of such fabric. An epilogue locates the writer, a friend and someday narrator, within the body and provides, maybe, a last privileged look into the relations archive.
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Additional info for 2 Ennerdale Drive: An Unauthorised Biography
Yeats” was written as part of a symposium occasioned by Yeats’s 1954 exhibition in Paris. Beckett also provided a short text in appreciation of the works of Henri Hayden for a 1952 exhibit. Even when he was forced by the Nazis to leave Paris and go into hiding in Roussillon, Beckett kept Jack Yeats’s painting Morning, and it was partly his interest in art that helped establish his friendship with Henri Hayden during this period. Later Beckett was to become involved in collaborative efforts with artists.
38. , 48. , 42. Charles Marowitz, “Paris Log,” Encore (March 1962), 45. The problem of textual deviation has been with Beckett from the first. As early as 9 January 1953, writing to Roger Blin about the incomplete fall of Estragon’s trousers, Beckett noted: “Soyez seulement assez gentil de le rétablir comme c’est indiqué dans le texte…” (Only be kind enough to restore it as the text indicates…). 26 For an overview of the problems of performance changes see James Knowlson, “State of Play: Performance Changes and Beckett Scholarship,” Journal of Beckett Studies (10), 109–20.
I took my new treasure home and read it that same night. The comedy was fully as strong as in Molloy and Malone, the sense of the grotesque, the unfailing gift for dialogue, but the magic fusion of comedy and tragedy, of form and content, had not, I felt, yet wholly occurred. It would await L’lnnommable. While waiting, I was informed by a Parisian actress friend that the French radio was scheduled to record part of an as yet unproduced Beckett play. I went to the taping. Rumor had it that Beckett would be present.
2 Ennerdale Drive: An Unauthorised Biography by Rosa Ainley