The New Yorker: Fiction cover image

Saïd Sayrafiezadeh Reads Samuel Beckett

The New Yorker: Fiction

CHAPTER

The Long Story of a Lone Man on Stage

"It's meant to induce that uh feeling that you cannot shake this he keeps coming back and actually towards the end there's that moment where he goes away for a long time and he comes back to see if things have changed," says David Walliams. "To me it was really a portrait of grief right you go away you come back and it doesn't hurt so much but yeah by the very end these images of this woman and her life they're they're dissolving right they're coming apart and it very end they're devoured they're gonethere's a void and he's happy"

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