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Beckett was his real name. He had a brother named Brecht and a sister named Joyce. His parents had been fifties bohemians: now they were both Labour Party officials. He lived in Caulfield with a mob of ex-punkers, most of whom worked on Saturdays at the racecourse. Beckett, however, had a real job as a computer technician. He asked me, 'So what do you do, Caitlin?'
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Page 86.

 

Leonie Stevens

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I met Beckett at my brother’s place (the painter Geer van Velde, fh). That was a Big meeting, in capital letters. It was before war started, life was still normal. That time I was very lonely. We saw each other often. Before the war he had published already something, but his fame came in 1953. We never spoke about his work. He was a taciturn man. Sometimes a word escaped from his mouth. Sure, a word you would never forget. It would stick in your head.. ..This friendship with Beckett is the most important experience in my life. He was fully alive for my way of working. What he could express in words, I did with my paintings. (1977, about his contact with Beckett, in Paris before and during the War, fh)

 

Bram van Velde

 

You can sense the volumes of Joyce, Beckett and Nabokov on Banville's shelves.

 

John Banville

 

Beckett shows death; his people are in dustbins or waiting for God. (Beckett will be cross with me for mentioning God, but never mind.) Similarly, in my play The New Tenant, there is no speech, or rather, the speeches are given to the Janitor. The Tenant just suffocates beneath proliferating furniture and objects — which is a symbol of death. There were no longer words being spoken, but images being visualized. We achieved it above all by the dislocation of language. … Beckett destroys language with silence. I do it with too much language, with characters talking at random, and by inventing words.

 

Eugene Ionesco

 

Without real experience in using the computer to get useful results the computer science major is apt to know all about the marvelous tool except how to use it. Such a person is a mere technician, skilled in manipulating the tool but with little sense of how and when to use it for its basic purposes.

 

Richard Hamming

 

In regard to absurdism, Samuel Beckett is sometimes considered to be the epitome of the postmodern artist ... In fact, he is the aesthetic reductio ad absurdum of absurdism: no longer whistling in the dark, after waiting for Godot, he is trying to be radically silent, wordless in the dark. Beckett tries to bespeak a failure of the logos that never quite succeeds in being a failure, for to speak the failure would be a kind of success. Hence the essentially comic (hence unavoidably and ultimately affirmative) nature of his work.

 

Samuel Beckett