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Conversations with Pinter. By Mel Gussow. London: Nick Hern Books, 1994. Pp. 158. £12.99.

This derivation in 1949 quite possibly owed its existence to an interview Beckett had with Jack Yeats in 1946, wherein the younger Yeats brother suggested that his painting was now 'less conscious'. There is a logic of the inexpressible, and because it is inexpressible, some can know it as that portion of thought that cannot be expressed. In her conclusion to this absorbing short text, Anna McMullan offers a number of interpretive strategies for Beckett's late works. Discounting the impact of semiologists, who attempt closure within formal, intrinsic understanding of signs, or who impose arbitrary frames on contextual ones, McMullan cites commentators on Beckett and on contemporary theorists. This section alone makes this work an important literary resource. However, this text is far more than a critique of semiology. McMullan's deft analyses of the plays and her acute commentary (supported by commentaries of others), bring us up to date on a distinctly feminist approach to Beckett. Nevertheless, no matter how current her review of deconstructionist and psychoanalytic literature, McMullan is dealing with the late works of a playwright who can be measured but not bounded by semiology, feminist, deconstructionist or psychoanalytic approaches, no matter how relevant. While many would concur with McMullan's scholarship, and her novel, indeed, intriguing readings of Beckett's texts, the indisputable fact remains that, as there is the text, or script, or art work, there is also the artist, and the relation between the two remains mysterious.