di Samuel Beckett

Krapp’s Last Tape was first performed by Patrick Magee at the Royal Court Theatre in October 1958, and described as ‘a solo, if that is the word, for one voice and two organs: one human, one mechanical. It fills few pages. It is perhaps the most original and important play of its length ever written.’ (Roy Walker)

The present volume brings together Krapp’s Last Tape and Beckett’s other shorter works or ‘dramaticules’ written for the stage. It will be complemented by a forthcoming Faber edition of dramatic works written for radio and screen.

Arranged in chronological order of composition, these shorter plays exhibit the laconic means and compassionate ends of Beckett’s dramatic vision.

KRAPP ‘Here I end this reel. Box – [Pause.] – three, spool – [Pause.] – five. [Pause.] Perhaps my best years have gone. When there was a chance of happiness. But I wouldn’t want them back. Not with the fire in me now. No, I wouldn’t want them back. [Staring motionless before him.]

di Amitav Ghosh

‘Amitav Ghosh is such a fascinating and seductive writer… I cannot think of another contemporary writer with whom it would be this thrilling to go so far, so fast’ The Times

January 2001: A small ship, led by wealthy Scotsman Daniel Hamilton, arrives in the Sundarbans, a vast archipelago of islands in the mythical river Ganges, a half-drowned land where the waters of the Himalayas merge with the incoming tides of the sea.

In the Sundarbans the tides reach more than 100 miles inland, and every day thousands of hectares of forest disappear only to re-emerge hours later. Dense as the mangrove forests are, from Hamilton’s point of view, it is only a little less barren than a desert.

The eccentric Scotsman and the scientists on board the ship disembark to study this little-known environment, and to trace the journeys of the descendants of this society. Their goal? To create a utopian society, of all races and religions, and conquer the might of the Sundarbans.

di Bessie Head

In this semi-autobiographical novel, Head tracks the protagonist Elizabeth’s struggle to emerge from the oppressive social situation in which she finds herself, and from the nightmares and hallucinations that torment her.

Elizabeth, like the author, was conceived in an out-of-wedlock union between a black man and a white woman of social standing – a union outlawed by her country of birth, South Africa. Elizabeth leaves South Africa with her young son to live in Botswana, a country that has escaped some of the worst evils of colonial domination. But in rural Botswana she is once again faced with a constricting social system as the villagers are suspicious of her urban ways and frown upon her individualistic behaviour. They also bear her ill will on racial grounds because she is light skinned like the ‘Bushmen’ who are a despised tribe there.

Elizabeth suffers not only social isolation but intellectual deprivation as well. One of the few people with whom she can converse as an intellectual equal is the American peace corps volunteer, Tom. During the four years in which Elizabeth is plagued by mental, social and economic challenges, it is Tom, and her own love for and obligation to her young son that help her to survive this ordeal.