Why did Samuel Beckett write to Ernie Bushmiller? Did he feel a sense of kinship with the cartoonist whose strip he read every day? Did he see in Bushmiller a man who quietly pursued his repetitive vocation day after day, no matter what? Did the Bushmiller characters strike a chord in the creator of Vladimir and Estragon? Did Beckett first formulate some of the innovations of his later plays while pondering situations for Nancy and Sluggo? We can never know if the inadvertent surrealistic antics of Bushmiller’s tykes influenced the translator of Eluard and Breton, or what first prompted the author of The Unnamable and Krapp’s Last Tape to begin sending strip ideas to a cartoonist in Connecticut. Was it Beckett’s frustration with his literary career, or the seemingly endless difficulties in mounting Godot that led him to seek another outlet, in yet another literary form, for his ideas and emotions? Whatever the reasons, we are lucky that much of the Beckett-Bushmiller correspondence has been preserved. [more inside]
I Went Left Instead Of Right In Pitfall And Kept On Tickin' And Now I Believe In Miracles: An absurdist play.