The back jackets of much of Thomas Bernhard's English-language translations are burdened by such qualifications as "near genius" or "second only to Kafka and Beckett." This, of course, is no small praise: there is no shame in being second to Kafka or Beckett; there is no shame in being a "ne
As with any movement of which its title and ideological thrust is foisted unwittingly and often unwarrantedly upon its supposed members, the Theater of the Absurd is as awkward and uneasy a fit for Eugène Ionesco's literary and artistic endeavors as they are for Samuel Beckett or Jean Genet