By Jo Baker
Samuel Beckett is a tender author dwelling in Paris—intoxicated by way of new friendships with James Joyce and the opposite writers and artists making the colourful urban their inventive home—when battle breaks out in 1939. He determines to stick and is quickly drawn into the maelstrom, becoming a member of the Resistance. With him we adventure the terrifying pleasure but obdurate vibrancy and camaraderie because the Parisians flee the Nazis and the Resistance is going underground; his friendships with the awesome crew of fellows and girls who locate themselves stuck up within the profession; his quiet, devoted love for Suzanne, the Frenchwoman who becomes his lifelong significant other; and his risky paintings encoding severe messages in translations and slender escapes from the Gestapo. here's a notable tale of survival and resolution, and a portrait of a uniquely amazing brain.
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Extra info for A Country Road, a Tree
The author's earliest dystopian vision is that of "The Concentration City" (ear- The Dimension of the Disaster 37 tier title: "Build-up"), the ultimate megapolis: a multi-tiered worldcity in which Pyros and Fire Police battle each other, a planet of concrete and asphalt inhabited by a race of quiescent conformists. A parallel vision is presented in "Billenium"37 in which 95 percent of the world population lives in overcrowded cities, battling giant pedestrian jams in the streets, living in tiny cubicles of four square meters per person, and subject to systematic governmental reductions of allotted living space.
The protagonist of the story, Richard Maitland, recovering from a minor eye operation, discovers during his temporary blindness the inner eye of the unconscious. By means of this power he explores a rich and mysterious inner world in which "everything . . is more real" (198). When at last the bandages are removed from his eyes and he regains his sight, Maitland experiences "A profound sense of loss" (200). The external world seems to him dull and "dead" (201) in comparison with the splendors and raptures of the inner world of the unconscious.
Hardoon is an embodiment of ego-mind at its most ruthless and arrogant. His physiognomy, "massive domed forehead, small hard eyes and callous mouth" (22), emphasizes his over-intellectuality, together with his lack of vision and of compassion, and events in the story confirm these traits of his character. His gnome-like deformity, his habitual dark clothing, and his treacherous, unscrupulous character recall some evil elf out of Teutonic legend; while his diminutive physical stature and the repeated comparisons of his face to iron or granite, together with his very name, serve to suggest an arrested psychic development, a perverted determination and an infantile will to omnipotence.