Raymond Federman and Samuel Beckett

“Camerlynck has deeply researched Raymond Federman’s writings in both English and French, shedding light on Federman’s complex relationship with Beckett, his mentor, model and rival. There are striking discoveries here literally on every page, sometimes in every sentence, adding up to a dense, detailed, full and ultimately persuasive picture of the literary practice of an important avant-gardist”. — Brian McHale, The Ohio State University, US

“Nathalie Camerlynck's fascinating and insightful book illuminates, in a new way, the work of both Raymond Federman and Samuel Beckett. Ray was, during the decades I knew him, continually reinventing himself through his fictions. It was Beckett who gave him the prism that made that reinvention possible. Read Camerlynck and you’ll understand how.” — Bruce Jackson, SUNY Distinguished Professor and James Agee Professor of American Culture, University at Buffalo, US

“Nathalie Camerlynck provides a comprehensive guide to Raymond Federman’s debts to, and reimaginings of, Samuel Beckett. For the brilliant trickster novelist, Beckett’s presence is not a source of anxiety but a prod for textual freedom. No American novelist has made better use of this freedom than Federman.” — Charles Bernstein, Donald T. Regan Professor, Emeritus, of English and Comparative Literature, University of Pennsylvania, US

“The point of playing the game of literature and criticism lies not in shoring up the bourgeois credentials of the writer and scholar, a recurring Federman target, but in confronting the horror vacui of identity and, in Federman’s case, his Holocaust experience. Nathalie Camerlynch’s Raymond Federman and Samuel Beckett will rejuvenate interest in the work of one the original postmodernist writers.” — Christopher Conti, Lecturer in Literary Studies, Western Sydney University, Australia

“This book breaks entirely new ground by queering Federman through his amorously idolizing and playfully antagonistic rapport with Beckett, whom he invoked as both ‘God’ and a ‘dog.’ Focusing less on sexual experience than on textual experimentation, Camerlynck teases out the strands of queerness in the dialogue between Federman’s early prose and Beckett’s novels and short stories. She thus reveals the existence of a second, metaphorical ‘closet,’ in addition to the Parisian site of Federman’s rebirth as a Holocaust survivor. The cleverness and subtlety of her analyses, as well as the sheer amount of evidence gathered and skillfully assembled, will overcome any residual resistance to this reframing of a self-styled ‘Gallic lady killer.’” — Rainier Grutman University of Ottawa, Canada