Samuel Beckett's Eleutheria presents an unusual case of literary translation. Composed in French, it is one of the few works that Beckett did not translate into English himself. This article compares the translation choices made by S. E. Gontarski in his unpublished early draft with the published translations by Michael Brodsky (1995) and Barbara Wright (1996). Two important questions are raised. First, is it ever appropriate to imbue a translation with a foreign remainder? Second, might it ever be appropriate for works such as En attendant Godot and Fin de partie to be retranslated into English?
With an unbroken publication record since 1905, The Modern Language Review (MLR) is one of the best known modern-language journals in the world and has a reputation for scholarly distinction and critical excellence. Articles focus on medieval and modern literature in the languages of continental Europe, together with English (including the United States and the Commonwealth), Francophone Africa and Canada, and Latin America. In addition, MLR reviews over five hundred books each year.
The Modern Humanities Research Association (MHRA) is an international organization with members in all parts of the world. The Association's purpose is to encourage and promote advanced study and research in the field of the modern humanities. It is concerned to break down the barriers between scholars working in different disciplines and to maintain the unity of humanistic scholarship in the face of increasing specialization.