Abstract
By a strange coincidence Stoppard’s first (and, to date, only) novel was published in the self-same week as the first performance of Rosencrantz and Guildenstern are Dead at Edinburgh. As Stoppard lightheartedly told Jon Bradshaw very much later,
I believed my reputation would be made by the novel. I believed the play would be of little consequence.1
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References
Jon Bradshaw, ‘Tom Stoppard Non-Stop’, Telegraph Sunday Magazine, 26 June 1977, p. 30. On the eve of Rosencrantz’s London opening he also describes the novel, according to Keith Harper, as ‘the best thing he’s done’, The Guardian, 12 April 1967, p. 7.
Introduction Two (Faber & Faber, 1964) p. 134. All subsequent references are to this edition.
‘The Definite Maybe’.
See ‘Ambushes for the Audience’, Theatre Quarterly vol. IV, no. 14, p. 4.
cf. The Definite Maybe’, p. 18.
Published by Anthony Blond in 1966, and reprinted by Panther Books (1968) and Faber & Faber (1974). Page references are to this last edition.
See below, Chapter 6.
T. S. Eliot, Collected Poems 1909–1962 (Faber & Faber, 1963) p. 14.
See p. 127.
Conrad, The Secret Agent (Harmondsworth: Penguin Books, 1972) p. 147 (and elsewhere).
Bradshaw, ‘Tom Stoppard Non-Stop’, p. 30.
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© 1985 Tim Brassell
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Brassell, T. (1985). ‘Style’ versus ‘Substance’. In: Tom Stoppard an Assessment. Palgrave Macmillan, London. https://doi.org/10.1007/978-1-349-17789-9_2
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