How Long Did Samuel Beckett Take To Write 'Godot'?

Three years after I had made my girlfriend, Sophia Lambert, sleep with her superior, she finally went from being his lover to becoming his wife. Meanwhile, I barely made it out alive after years of being undercover in a drug trafficking ring. My body was broken beyond repair, and I had returned home only to wait for death. Sophia arrived with one of her arms wrapped around her husband’s during a charity visit for the poor. When she saw me standing in line for relief aid, she let out a mocking laugh. “Benjamin, how did you end up like this?” I hunched my shoulders. I hid the First-Class Merit Medal for Narcotics Enforcement I had received not long ago. After a long silence, I asked, “Are you happy now?” She twirled the diamond ring on her finger in a lackadaisical manner. “The wedding’s next week. What do you think? “If you want, you can even become a groomsman. Orlando believes in diversity. His groomsmen comprises of different kinds of guys. He’s just missing someone disabled.” I shook my head and turned down her offer. “No, I won’t be able to make it.” The poison in my body had already spread to my heart. I only had a few days left.

Sophie Beckett was the perfect wife. Quiet. Devoted. Unremarkable. Or so her husband believed. When Sophie discovers Adrian's affair, she doesn't cry. She doesn't beg. She simply smiles, pours herself a drink, and starts making plans — because Sophie Langham didn't spend three years playing a role just to fall apart when the curtain dropped. Adrian Beckett thought he married a simple girl. He has no idea who he actually married. And by the time he finds out, it will already be too late.

Eliza Ward does not fall through time. Time bends toward her. Pulled from the present into Revolutionary America, Eliza becomes trapped in a landscape where history repeats unevenly, battles restart with variations, and memory functions as both anchor and weapon. She is not a chosen heroine, but a constant: a woman whose awareness destabilizes the moment itself. She meets Mercy Hale, a midwife and witch who understands time as a negotiation rather than a force to command. Mercy aids Eliza’s survival while refusing the role of savior, having already learned the cost of standing too close to history’s center. During a looping battle, Eliza saves Thomas Reed, a Continental soldier who does not shift when time does. Thomas is an anchor: steady, observant, unchanged across iterations. Their bond deepens in an almost-normal village where time briefly behaves. Eliza’s intervention triggers time’s response. Rather than immediate destruction, time collects interest. Mercy bargains to spare Eliza and Thomas, sacrificing her own future to stabilize the present. Time extracts payment from Eliza as well, stripping away her voice, the very tool she uses to name and hold moments in place. Silenced and unmoored, Eliza is violently displaced back into the original battle. Unable to anchor the moment, she watches Thomas die in the version of history that was always waiting beneath her defiance. Told in rotating perspectives between Eliza, Thomas, and Mercy, The Hours That Refused to Behave is a lyrical time-travel novel about revolution, restraint, and consequence, asking not whether history can be changed, but who pays when it is.

For five years, Mira poured her obsession into The Reckoning of Caelen Mors—a dark fantasy about a ruthless duke and the woman he becomes dangerously fixated on. At 2:47 AM, exhausted and alone, she died at her laptop. Her final words still glowed on the screen: "Duke Caelen finally showed her his true face. It was nothing like she imagined." She woke as Isadora Vess—the secondary character from her manuscript—in a silk bed, in a monster's house, with servants calling her by a name she'd invented. The problem: Mira remembers writing this world. She knows every dark secret. She knows how the story should end. Except her memories are fractured. The manuscript was never finished. And the characters have evolved without her input, making choices she never wrote, saying things she never scripted. Worse—Duke Caelen knows she's different. He's been waiting for her. Across seventeen timelines, he's seen her arrive at this exact moment. And in three of them, everything burned. Now Isadora must navigate a world she created but no longer controls, surrounded by men who each want to use her—a charming prince offering escape, a dark count offering power, and a villain offering the only thing that might be true: the answer to why she's here, and what happens when an author gets trapped in her own story. Because in every version where Isadora arrives, the empire falls. And Caelen has been waiting a very long time to see which ending she'll choose this time.

At age 5, I met you. Understood that I was born to marry you. You were silent, you were shy. But I managed to make you be my friend. At age 13, I fell in love with you. I loved your cheeky smile. I loved the way I am the only person you rely on.At age 17, I became yours and promised myself to you. I pledged to wait for you no matter how long. You were sweet, caring, and treated me like I'm the only woman in your world. At age 18, you left. Moving to another country to meet the future that you are born to. I waited but you hardly called. At age 25, you came back for me, but you're not the man I knew. From the day I was born, I was meant to be his. It was okay. Everything was great. I loved him as we played on the playgrounds, as we watched grow up- and he loved me. Suddenly, he left with his father to go to Italy leaving me behind for seven years, he came back but he wasn't the same.From the day I was born, I was meant to be his. I was happy to be his. But he was no longer the man who I was betrothed to.

I fought my sister, Anna, for two lifetimes to become the Donna. In my first life, I got what I wanted. I became Lorenzo's woman. People said he loved me as if I were the air in his lungs. When he learned that I loved to dance, he bought an entire ballet company to keep me onstage. Then he broke my legs. He confined me to a wheelchair and displayed me like an ornament. One day, he brushed his fingers across my face and finally told me the truth. "I've seen enough dancing," he said. "And the one I truly love was never you." I died in that room, swallowed by despair. In my second life, I stepped aside and gave the Donna's seat to Anna. "You go," I told her. "The one Lorenzo really loves is you." I believed that choice would save us. I believed Anna would have the happy ending I never did. Five years later, they sent her back. Her legs were intact this time, but she couldn’t move them either. Lorenzo no longer treated her as a person. He had turned her into a ballerina statue, encased in plaster and posed at what he called her most beautiful moment, frozen in place. His men delivered the message without a trace of feeling. "He got tired of watching the younger sister dance," they said. "So he preserved her at her most beautiful." When I opened my eyes again, I found myself in my third life. Once more, the Don's men delivered a ballet invitation. Anna and I stared at it. The same question burned in both of us. If neither of us was the one he loved, then who was Lorenzo really watching?