The editors wish to thank the copyright holders of the criticism included in this volume and the permissions managers of many book and magazine publishing companies for assisting us in securing reproduction rights. We are also grateful to the staffs of the Detroit Public Library, the Library of Congress, the University of Detroit Mercy Library, Wayne State University Purdy/Kresge Library Complex, and the University of Michigan Libraries for making their resources available to us. Following is a list of the copyright holders who have granted us permission to reproduce material in this volume of TCLC. Every effort has been made to trace copyright, but if omissions have been made, please let us know.

COPYRIGHTED MATERIAL IN TCLC, VOLUME 145, WAS REPRODUCED FROM THE FOLLOWING PERIODICALS:

Australian Journal of French Studies, v. 35, May-August, 1998 for “Nathalie Sarraute Changing Genres: From ‘Disent les imbeciles’ to ‘Elle est lá’ by John Rothenberg. Copyright © 1998 by Australian Journal of French Studies. Reproduced by permission of the publisher and the author.—Canadian Literature, summer, 1992 for “Reading Morley Callaghan’s ‘Such is my Beloved’” by Margaret Avison. Reproduced by permission of the author.—Comparative Drama, v. 31, summer, 1997. Copyright © copyright 1997 by the Editors of Comparative Drama. Reproduced by permission.—ELH, v. 63, winter, 1996. Copyright © 1996 The Johns Hopkins University Press. Reproduced by permission.—Essays in French Literature, November, 1990. Reproduced by permission.—Essays on Canadian Writing, v. 51-52, winter-spring, 1993-1994. Copyright 1993 by Essays on Canadian Writing Ltd. Reproduced by permission.—Forum for Modern Language Studies,

v. 15, January, 1979 for “The Thematic Import of Azuela’s Los De Abajo: A Defence” by D. Bradley; v. 30, October, 1994 for “The Space of Satire: Le Planetarium by Nathalie Sarraute” by Mary Orr; v. 34, October, 1995 for “Towards Narrativity: Nathalie Sarraute’s Enfance” by Johnnie Gratton; v. 35, July, 1999 for “Gender in Question in the Theatre of Nathalie Sarraute” by John Rothenberg. All reproduced by permission of Oxford University Press and the respective authors.—The French Review, v. 67, April, 1994. Copyright © 1994 by the American Association of Teachers of French. Reproduced by permission.—French Studies: A Quarterly Review, v. 49, April, 1995 for “Voices, Virtualities and Ventriloquism: Nathalie Sarraute’s Pour un oui ou pour un non” by Valerie Minogue; v. 54, April, 2000 for “The Violence of Writing in Nathalie Sarraute’s Les Fruits d’or and Disent les Imbeciles” by Nicolette David. Copyright © 1995, 2000 by The Society for French Studies. Both reproduced by permission of the publisher and the respective authors.—The Hemingway Review, v. 17, no. 2, spring, 1998. University of Idaho Press, 1998. Copyright © 1998 by The Ernest Hemingway Foundation. Reproduced by permission.—Hispanofila, v. 127, September, 1999. Copyright © 1999 by University of North Carolina. Reproduced by permission.—Journal of Beckett Studies, v. 5, Autumn, 1995-96; v. 6, Autumn, 1996. All reproduced by permission.—Journal of Canadian Studies/Revue D’Études Canadiennes, v. 27, fall, 1992. Copyright © 1992 by Journal of Canadian Studies. Reproduced by permission.—Journal of Dramatic Theory and Criticism, v. 11, spring, 1997 for “Matters of Memory in Krapp’s Last Tape and Not I” by Jeanette R. Malkin. Reproduced by permission of the author.—Journal of Spanish Studies: Twentieth Century, v. 7, fall, 1979 for “Animal Imagery and Structural Unity in Mariano Azuela’s Los de Abajo” by Timothy Murad. Copyright © 1979, by Journal of Spanish Studies: Twentieth Century. Reproduced by permission of the publisher and the author.—L’Esprit Createur, v. 36, summer, 1996; v. 40, spring, 2000. Copyright © 1996, 2000 by L’Esprit Createur. Both reproduced by permission.—Latin American Literary Review, v. IV, spring-summer, 1976. Copyright © 1976, by the Latin American Literary Review Press. Reproduced by permission.—Modern Drama, v. 34, March, 1991; v. XL, winter, 1997; v. XLI, winter, 1998; v. XLII, fall, 1999. Copyright © 1991, 1997, 1998, 1999. University of Toronto, Graduate Centre for Study of Drama. All reproduced by permission.—Modern Fiction Studies, v. 41, fall-winter, 1995; v. 47, winter, 2001; v. 49, summer, 2003. Copyright © 1995, 2001, 2003, by the Johns Hopkins University Press. Reproduced by permission.—Modern Language Review, v. 75, 1980. Copyright © 1980 by Modern Humanities Research Association. Reproduced by permission.—Mosaic, v. 25, spring, 1992. Copyright © Mosaic 1992. Acknowledgment of previous publication is herewith made.—Neophilologus, v. 82, July, 1998 for “Imagery in the Theatre of Nathalie Sarraute” by John Rothenberg. Copyright © 1998 by Kluwer Academic Publishers. Reproduced by permission from Kluwer Academic Publishers and the author.—Publishers Weekly, vol. 249, September 16, 2002. Copyright 2002 by Reed Publishing USA. Reproduced with permission from Publishers Weekly, published by the Bowker Magazine Group of Cahners Publishing Co., a division of Reed Publishing USA.—Romance Notes, v. 11, spring, 1970; v. 38, winter, 1998. Both reproduced by permission.—The Romantic Review, v. 92, no. 3, May 2001. Copyright © 2001 by The Trustees of Columbia University. Reproduced by permission.—Studies in Canadian Literature, v. 22, 1997; v. 23, 1998. Copyright 1997 by Marianne Perez. Copyright 1998 by Justin D. Edwards. Reproduced by permission of the editors.

COPYRIGHTED MATERIAL IN TCLC, VOLUME 145, WAS REPRODUCED FROM THE FOLLOWING BOOKS:

Barbour, Sarah. From Nathalie Sarraute and the Feminist Reader: Identities in Process. Associated University Presses, 1993. Copyright © 1993 by the Associated University Presses. All rights reserved. Reproduced by permission.—Boire, Gary. “The Language of the Law: The Cases of Morley Callaghan,” in Dominant Impressions: Essays on the Canadian Short Story. Edited by Gerald Lynch and Angela Arnold Robbeson. University of Ottawa Press, 1999. Copyright 1999 by University of Ottawa Press. All rights reserved. Reproduced by permission.—Catanzano, Mary. From “Disconnected Voices, Displaced Bodies: The Dismembered Couple in Beckett’s ‘Krapp’s Last Tape,’ ‘Happy Days,’ and ‘Play,’” in Literature and the Grotesque. Edited by Michael J. Meyer. Rodopi, 1995. Copyright © 1995 by Editions Rodopi. Reproduced by permission.—Jefferson, Ann. From Nathalie Sarraute, Fiction and Theory: Questions of Difference. Cambridge University Press, 2000. Copyright © 2000 by Ann Jefferson. All rights reserved. Reproduced by permission of Cambridge University Press.—Katz, Daniel. From Saying I No More: Subjectivity and Consciousness in the Prose of Samuel Beckett. Northwestern University Press, 1999. Copyright © 1999 by Northwestern University Press. Reproduced by permission.— Leal, Luis. From Mariano Azuela. Twayne, 1971. Copyright ©1971 by Twayne Publishers. All rights reserved. Reproduced by permission of Gale Group.—Pell, Barbara. From Faith and Fiction: A Theological Critique of the Narrative Strategies of Hugh MacLennan and Morley Callaghan. Wilfrid Laurier University Press, 1998. Copyright 1998 by Canadian Corporation for Studies in Religion. All rights reserved. Reproduced by permission.—Van Sluke, Gretchen. From “Autobiographical Matrices and Mother Tongues in Nathalie Sarraute’s Enfance,” in Corps/Décors: Femmes, Orgie, Parodie. Edited by Catherine Nesci. Rodopi, 1999. Copyright © 1999 by Editions Rodopi B.V. Reproduced by permission.—Wood, Rupert. From “An Endgame of Aesthetics: Beckett as Essayist,” in The Cambridge Companion to Beckett. Edited by John Pilling. Press Syndicate of the University of Cambridge, 1994. Copyright © 1994 Cambridge University Press. Reproduced by permission.

PHOTOGRAPHS AND ILLUSTRATIONS APPEARING IN TCLC, VOLUME 145, WERE RECEIVED FROM THE FOLLOWING SOURCES:

Azuela, Mariano, photograph. The Library of Congress.—Beckett, Samuel, photograph by Jerry Bauer. Reproduced by permission.—Callaghan, Morley Edward, photograph by Jerry Bauer. Reproduced by permission.—Sarraute, Nathalie, 1964, photograph. NYWTS/The Library of Congress.

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