Discussing his productions of the American Beckett Festival of Radio Plays (1986), producer Everett Frost notes, ‘As is well known, Beckett had very firm convictions about what ought and ought not be done with his work’ (1991: 364). The comment summarises the received wisdom on Samuel Beckett's personal oversight of his art, but the issue of Beckett's relationship to his texts is up for periodic review in this age of the after-Beckett, as we ask how directly and consistently he was involved in ensuring what we might call the integrity of his art. We know that, on occasion, Beckett intervened in what he deemed aberrant productions, usually prodded into action by others, since he almost never saw those questionable productions himself, but how generally vigilant was he about productions and, even more important, about his written legacy, his texts? How account, for instance, for the innumerable deviant productions of his plays and for persistent inconsistencies among his published works? Despite Frost's assertion, early editions of Beckett's work are replete with errors, and the English-language texts still have been neither fully corrected nor reconciled, although new editions from Grove Press (2006) and Faber & Faber (2009), on the whole and with notable exceptions detailed below, constitute major advances; in particular, the new editions of Watt from both houses. Surely, Beckett read proofs for each of the first three editions of Watt. Yet, despite his reputed vigilance and the willingness of his publishers to accommodate his desires and revisions, and despite the most recent efforts of his English-language publishers, calls for corrected and uniform texts have gone largely unheeded in the after-Beckett. A clear sign of the problems faced is Frost's asking Beckett which text of Cascando he should produce for the American radio festival. Beckett, unsure of the implications of Frost's question, responded self-evidently, ‘[t]he printed version’. He seemed shocked when Frost asked, ‘“Which printed version?” After Beckett made a quick check of his texts, Frost asked how far he might rely on Grove Press editions; “Not very,” was the playwright's terse reply’ (Brater 1994: 37), without, we might add, his assuming responsibility for what would appear to be less-than-thorough textual oversight.