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The literature of the 20th century has been characterized by an intense awareness and reshaping of fundamentals. Just as the architectural vanguard led by Le Corbusier reinvented structural form, or the Cubists 'made new' visual space the writers working with narratives renewed and heightened their concern with how time worked in their art. Samuel Beckett was among those heir to the condition of modernity: he had seen evolution so rapid that it may be fairly termed a revolution in both the novel and the play. It is not surprising that he was among those writers who came fresh to the challenge, with his own experimental agenda. Yet the archetypal picture of a Beckett drama is one of a futile, meaningless existence, one pared down to its minimalist starkness, condemned to endless and pointless repetition. Do the plays of Beckett mark a nihilistic and joyless revolution, or do they articulate some...

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