Geoffrey Thompson

I said to him about...

this recent play, that I said, how do you think they'll take it?

And he said, oh, I think that they will be tolerant but mystified.

I don't think he is obscure just for the sake of obscurity.

I think that's his mode of expression.

I don't think he could express himself in any other way.

And the more clear he became, if it's possible to conceive such a thing, I think the less he would have to say.

he has told me on several occasions that his actual method of writing has changed a lot over the years that it's become more and more laborious and more and more difficult and more and more slow that he wrote Godot Godot was produced here this is a copy that he gave me at the time that was produced first it was produced in 1953 in Paris and I think it was a

first published in 1952.

I think he wrote it in the winter of 51, 52.

And he wrote that in an exercise book, he told me, straight off like that, starting at the beginning of the book and writing just on one side of the page, right through to the end, turned the book over and wrote back again on the other side of the pages and with very, very few corrections and completed it in a very short time.

but I remember at the time that it came out when I was talking to him about this he said that it was written with great facility and fluidity and but when it was finished he could hardly remember having written it and he made very few corrections in it but as he's gone on writing he's had to put more and more work into it has come less easily to him and

It's almost as if he feels that as he goes on, the distance that he has, the freedom that he has at his disposal becomes less and less.

And his writing has come to involve much more work and labour now than it used to do, and to have much more corrections.