insight into their situations. For Beckett, memory is second-hand knowledge. You were not there. Another "you" was. Can you trust what he says he saw and heard? This would not be the first time Beckett has fragmented an individual for dramatic effect (e.g. That Time or Ohio Impromptu). Beckett believes people to be in a continual state of flux, often finding it hard to relate to earlier versions of their own selves (e.g. Krapp: Just been listening to that stupid bastard I took myself for thirty years ago, hard to believe I was ever as bad as that.). With each passing day "we are other", Beckett notes in his monograph, "no longer what we were before the calamity of yesterday." Bam is not wallowing in nostalgia though (like the women in Come and Go), rather he is trying to remember something – an "it", a "when", a "where" – that insists on remaining just out of reach. Those "familiar with his preoccupation, themes, images, figures of speech … may assume that the 'what where' question is a kind of Oedipus' riddle and that the answer to it cannot be found, despite an obligation to ask the question." Rather than simply "What?" and "Where?" the full questions could easily be: "What is the meaning of life?" and "Where does it all come from?" If Bam is trying to ascertain the details surrounding a particular crime, the question has to be asked: what crime? James Knowlson believes "that crime appears likely to be Calderón’s ‘original sin of being born', which Beckett had evoked at the beginning of his career in this essay Proust. Consequently, the overall perpetrator is unlikely ever to be known, let alone apprehended." Production history Beckett was not happy with the piece when first completed. He wrote to Kay Boyle in March 1983: "Just finished a short piece – theatre – for the Graz autumn festival, to my dissatisfaction." As had become his working practice, he refined it in rehearsals over several years until he was better pleased with the result. For example, many of the changes television made possible were then adopted back into the stage version. 1983 "The first production of the play at the Harold Clurman Theatre, New York on 15 June 1983 directed by Alan Schneider, was (naturally) totally faithful to Beckett’s text. The play seemed surprisingly long and showed real 'longueurs' not only in