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Contents: The Difficult BirthóAn Image of Utterance in Beckett, Paul Lawley; Less equals MoreóDeveloping Ambiguity in the Drafts of "Come and Go,"Rosemary Pountney; Seeing is PerceivingóBeckett's Later Plays and the Theory of Audience Response, Karen L. Laughlin; Mutations of the Soliloquy, "Not I" to "Rockaby,"Andrew Kennedy; Anonymity and IndividuationóThe Interrelation of Two Linguistic Functions in "Not I" and "Rockaby,"Lois Oppenheim; Walking and Rocking, Ritual Acts in "Footfalls" and "Rockaby,"Mary A. Doll; Beckett's Other Trilogyó"Not I," "Footfalls" and "Rockaby,"R. Thomas Stone; Perspective in "Rockaby,"Jane Alison Hale; Know HappinessóIrony in "Ill Seen Ill Said,"Monique Nagem; Reading "That Time,"Antoni Libera; The Speech Act in Beckett's "Ohio Impromptu,"Kathleen O'Gorman; "Make Sense Who May," A Study of "Catastrophe" and "What Where,"Annamaria Sportelli; "Catastrophe" and Dramatic Setting, Hersh Zeifman; A Political Perspective on "Catastrophe,"Robert Sandarg; The Quad PiecesóA Screen for the Unseeable, Phyllis Carey. Irish Literary Studies Series No. 30.