“And perhaps there is none, no morrow anymore, for one who has waited so long for it in vain. And perhaps he has come to that stage of his instant when to live is to wander the last of the living in the depths of an instant without bounds, where the light never changes and the wrecks all look alike. Bluer scarcely than white of egg the eyes stare into the space before them, namely the fullness of the great deep and unchanging calm. But at long intervals they close, with the gentle suddenness of flesh that tightens, often without anger, and closes on itself.”

“And perhaps there is none, no morrow anymore, for one who has waited so long for it in vain. And perhaps he has come to that stage of his instant when to live is to wander the last of the living in the depths of an instant without bounds, where the light never changes and the wrecks all look alike. Bluer scarcely than white of egg the eyes stare into the space before them, namely the fullness of the great deep and unchanging calm. But at long intervals they close, with the gentle suddenness of flesh that tightens, often without anger, and closes on itself.”

“In a sense, Joyce was Beckett's Don Quixote, and Beckett was his Sancho Panza. Joyce aspired to the One; Beckett encapsulated the fragmented many. But as each author accomplished his task, it was in the service of the other. Ultimately, Beckett's landscapes would resound with articulate silence, and his empty spaces would collect within themselves the richness of multiple shadows--a physicist would say the negative particles--of all that exists in absence, as in the white patches of an Abstract Expressionist painting. Becket would evoke, on his canvasses of vast innuendo and through the interstices of conscious and unconscious thought, the richness that Joyce had made explicit in words and intricate structure.”

“Ever tried. Ever failed. No matter. Try again. Fail again. Fail better.—Samuel Beckett, Worstward Ho (1983)”

“Cascando"why not merely the despaired ofoccasion ofwordshedis it not better abort than be barrenthe hours after you are gone are so leadenthey will always start dragging too soonthe grapples clawing blindly the bed of wantbringing up the bones the old lovessockets filled once with eyes like yoursall always is it better too soon than neverthe black want splashing their facessaying again nine days never floated the lovednor nine monthsnor nine livessaying againif you do not teach me I shall not learnsaying again there is a lasteven of last timeslast times of begginglast times of lovingof knowing not knowing pretendinga last even of last times of sayingif you do not love me I shall not be lovedif I do not love you I shall not lovethe churn of stale words in the heart againlove love love thud of the old plungerpestling the unalterablewhey of wordsterrified againof not lovingof loving and not youof being loved and not by youof knowing not knowing pretendingpretendingI and all the others that will love youif they love youunless they love you”

“All I know is what the words know, and dead things, and that makes a handsome little sum, with a beginning and a middle and an end, as in the well-built phrase and the long sonata of the dead.”

“If you do not love me I shall not be loved. If I do not love you I shall not love.”

“HAMM:Scoundrel! Why did you engender me?NAGG:I didn't know.HAMM:What? What didn't you know?NAGG:That it'd be you.(Pause.)”

“I am not interested in living in a city where there isn't a production by Samuel Beckett running.”

“Henry: I usen't to need anyone, just to myself, stories, there was a great one about an old fellow called Bolton, I never finished it, I never finished any of them, I never finished anything, everything always went on for ever. (Pause.)”

“Nothing is funnier than unhappiness.”

“Ada: And why life? (Pause.) Why life, Henry? (Pause.) Is there anyone about?Henry: Not a living soul.Ada: I thought as much. (Pause.) When we longed to have it to ourselves there was always someone. Now that it does not matter the place is deserted.”