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What is a birth astride a grave?: 'Ohio Impromptu&am(22)

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      (28) The paradox which Hamm refers to is actually a conflation of
      two Greek paradoxes: one in which, logically, one can never create a
      "heap" of sand grains by adding on at a time to the pile; the other,
      Zeno's paradox of the millet grains, states that, as one cannot hear
      one millet grain fall, then logically one cannot hear bushels of
      millet grains as they fall.
      (29) Loy, 222. See note 19.
      (30) Samuel Beckett, Ill Seen Ill Said (New York, 1981), 31.
      (31) Loy, Nonduality, 218.
      (32) I use this term here in its technical sense: the interplay,
      constructive and destructive ("positive" and "negative"), between
      differing wave forms. An example would be ripples in a pond, which
      can merge to create larger waves or "cancel" each other, creating
      nodes of stillness.
      (33) Samuel Beckett, "There Dialogues with Georges Duthuit,"
      Transition 49:5 (December 1949), 102.
      (34) Steven Connor, Samuel Beckett: Repetition, Theory and Text (New
      York, 1988), 126.
      (35) Ibid., 126.
      (36) McMullan, 29. See note 6.
      (37) Abbott, 8. See note 5.
      (38) Actually it is/was two: an older island upstream, which became
      part of the Port du Gros-Caillou, and a newer, man-made Allee des
      Cygnes. In this image, then, any simple linearity of past and
      present is effaced (see Astier 336-7).
      (39) This is the "punch-line" of the famous koan in which Joshu
      responds to the question, "does a dog have Buddha-nature?" with a
      strident "Mu!" For further commentary on this koan see Paul Reps,
      ed. and trans., Zen Flesh, Zen Bones: A Collection of Zen and
      Pre-Zen Writings (Garden City, NY, 1975), 89-90.
      (40) Anna McMullan, Theatre on Trial: Samuel Beckett's Later Drama
      (New York, 1993), 102-3.
      (41) As far as I know, this is not a canonical koan, but it
      certainly destabilizes the sense of the self-in-reality, and thus
      seems to me a pretty good approximation.
      (42) Astier, 338. See note 4.
      (43) Elizabeth Klaver, "Samuel Beckett's Ohio Impromptu, Quad, and
      What Where: How it is in the Matrix of Text and Television,"
      Contemporary Literature 32 (Fall 1991), 373.
      (44) As an aside, we might note that this image of birth so
      important to Beckett's work is refracted in the physical image of
      the Isle mid-river, adding yet another level on which the play