Abstract
The Broadway revival of Waiting for Godot in November 1988, and a Beckett Symposium of more than a hundred scholars at the Smithsonian Institution, March 1989, suggest a timely reexamination of Beckett's controversial drama. Is Waiting for Godot to be dismissed as the product of an obsolete and wholly negative existentialism, or are there suggestions within the play that the two vagabonds yearn for a faith that presupposes a profound, if unconventional, understanding of the Bible and of Christian theology?
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