Little’s references to recent performances of Beckett’s plays in different parts of the world (be it Not I or Godot) testify to their immense potential to resonate with their audiences in various political and cultural contexts. His comprehensive and extremely well-researched investigation of Beckett's creation of confined spaces, “whether onstage or on the page” (207), by means of the genetic-critical methodology, is illuminating, persuasive and extremely well-written, and as such is a valuable scholarly resource both within and beyond Beckett studies.