(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