{'fraction_non_alphanumeric': 0.029745042492917848, 'fraction_numerical': 0.0, 'mean_word_length': 4.566929133858268, 'pattern_counts': {'":': 0, '<': 0, '<?xml version=': 0, '>': 0, 'https://': 0, 'lorem ipsum': 0, 'www.': 0, 'xml': 0}, 'pii_count': 0, 'substrings_counts': 0, 'word_list_counts': {'cursed_substrings.json': 0, 'profanity_word_list.json': 0, 'sexual_word_list.json': 0, 'zh_pornsignals.json': 0}}
Claude Simon: situations ed. by Paul Dirkx and Pascal Mougin (review)

in her readings she also feels her way into the emotional space that these plays conjure forth. In reality, the performative voice may very well have been the way in which Beckett wrote his works: he listened, stock still, or sitting, or on his back in the dark, to the curling, unfurling, loquacious, syrupy, and stark voice as it spoke to him from somewhere else, of scenes and sounds from unreal pasts, demanding succour in created form. This book is a real achievement, adapting and accreting its ideas as it treats each play, and establishing without doubt that Beckett heard voices that broke the world up yet made them into art.