László Krasznahorkai in conversation with Colm Tóibín

Samuel Beckett's "Waiting for Godot" is a seminal work of absurdist theatre. The play features two tramps, Vladimir and Estragon, who wait endlessly for the enigmatic Mr. Godot, whose arrival is perpetually delayed. Beckett's minimalist style and his exploration of existential themes have made the play a cornerstone of modern drama. The play's ambiguous nature and its exploration of meaninglessness and the human condition continue to resonate with audiences today. "Waiting for Godot" remains a powerful and thought-provoking work that challenges conventional notions of narrative and dramatic structure.

In this novella, Colm Tóibín presents a deeply personal and humanized account of Mary, the mother of Jesus. The story is set in the ancient town of Ephesus, where Mary lives in exile after her son's crucifixion. She is visited by followers of Jesus who seek to record her testament, but Mary's narrative diverges sharply from the traditional gospel accounts. She recounts her memories of Jesus' childhood, his miracles, and his eventual crucifixion, all while grappling with guilt, regret, and a profound sense of loss. Mary's voice is one of a strong-willed woman, filled with pain and bitterness, who does not accept the divinity of her son and questions the worth of his sacrifice. The book explores themes of motherhood, faith, and the human cost of religious zeal.

Written in the early 19th century, 'Dead Souls' is a significant piece of Russian literature that satirizes the social and bureaucratic systems of Tsarist Russia. The novel chronicles the travels and adventures of Pavel Ivanovich Chichikov, who seeks to purchase the rights to 'dead souls' from landowners. These 'dead souls' are deceased serfs that landowners are still taxed for, and Chichikov plans to use them to secure a bank loan and become wealthy. The novel is known for its vivid depiction of Russian society, its critique of feudalism, and its unique characters, each with their own quirks and failings. Gogol intended the novel to be the first part of a three-volume work, but he destroyed the manuscript of the second part before his death.