SAMUEL Beckett was not particularly known for his outgoing nature. In the latter years, before his death, little was seen of him in his adopted Paris.
You might say that a small industry grew up around access to Beckett. The more remote he became, the more interest grew.
Beckett could have taught J.D. Salinger a thing or two, but unlike the American, he came out of his lair occasionally, particularly if something took his fancy.
In this case, his interest was aroused by the fact that a prisoner on death row in San Quentin - the prison in which Johnny Cash spent some time and about which he wrote the famous song - came to have an appreciation of the works of Beckett. Such was his enthusiasm that he enlisted his fellow inmates to interpret and perform some of the plays. And then, like a good Hollywood script, the instigator of all this - one Rick Cluchey - was reprieved and freed.
Mr Cluchey became a theatre director, formed the San Quentin Theatre Group, and, in 1980, brought his players to London, where he directed Beckett's Endgame at the Riverside.
And that's where John Minihane comes in. Born in Athy, but later of Dublin, he spent most of his years as a photographer on the London Evening Standard. Now, he lives in west Cork. When the San Quentin group was at the Riverside, Beckett came over from Paris to help the production along. The group had made contact with him and, as he sometimes did, he agreed to offer assistance.
He stayed at the Hyde Park Hotel. John Minihane heard about this and called to the hotel. The commissionaire denied that Beckett was staying there. Undeterred, Mr Minihane sent around a note the following day, asking to see Beckett and informing him that he was an Irish photographer and that over the years he had collected a Beckett portfolio. For an unexplained reason, he says, he was seen readily. The commissionaire was forced to usher him into the great man's presence.
Beckett wanted to give him a break and agreed to pose for a portrait. The portrait was completed but that was not the end of the matter.
Some time later, Beckett phoned Mr Minihane and invited him to Paris. "But don't bring your cameras," Beckett said. On an invitation like that, a photographer was unlikely to travel without his cameras, and John Minihane was no exception.
The year was 1984. It was a weekend meeting. Beckett changed his mind and decided that he would like to sit for a second portrait, which he did. The portrait became famous: Paris, the cafe, the coffee cups, the cigarette butts in the ashtray, and Beckett dominating the scene.
Which all leads to Prague, where, at the Prague Writers Festival, on June 20th next, an exhibition will open dedicated to Beckett, and the Minihane collection, consisting of many photos of the Nobel prizewinner, will go on display as part of it. When the festival is over, the exhibition will transfer to the Munster Literature Centre in Cork.
The centre was established to focus on the lives and works of Munster writers like Frank O'Connor, Kate O'Brien, Daniel Corkery and Elizabeth Bowen. It runs workshops and has an out reach programme for schools in the region, aimed at making young people better aware of their literary heritage.
Beckett was an enigma who fascinated generations and will continue to do so. And after the Prague festival those who cherish his works will eagerly await the arrival in Cork of the Minihane collection.