"If one were to climb the beanstalk of American drama, what would be discovered at the very top is a giant. His name is Eugene O'Neill. He towers above American drama like a colossus, and for many critics -- theatrical reviewers and scholars -- other playwrights were but petty things to walk under his huge legs and peep about. ...'Monumental' is the word most often used to describe O'Neill's work, from Strange Interlude to A Touch of the Poet. This word may be used as well to describe O'Neill and his reputation. No one ever accused O'Neill, or his work, of being too small." So says editor Martine in introducing this collection with his own compendious bibliography of O'Neill scholarship. ISBN 0-8161-8683-9 : $28.50.

This study explores the personal, historical, and artistic influences that combined to form such dark and influential American masterpieces as 'The Iceman Cometh', 'The Emperor Jones', 'Mourning Becomes Electra', 'Hughie', and - arguably the finest tragedy ever written by an American - 'Long Day's Journey into Night'.

The new essays in this collection, on such diverse writers as Eugene O'Neill, Susan Glaspell, Thornton Wilder, Arthur Miller, Maurine Dallas Watkins, Sophie Treadwell, and Washington Irving, fill an important conceptual gap. The essayists offer numerous approaches to intertextuality: the influence of the poetry of romanticism and Shakespeare and of histories and novels, ideological and political discourses on American playwrights, unlikely connections between such writers as Miller and Wilder, the problems of intertexts in translation, the evolution in historical and performance contexts of the same tale, and the relationships among feminism, the drama of the courtroom, and the drama of the stage. Intertextuality has been an under-explored area in studies of dramatic and performance texts. The innovative findings of these scholars testify to the continuing vitality of research in American drama and performance.

This collection of thirty years of interviews with America's only Nobel Prize dramatist records his encounters with the press and gives a striking portrait of the man and the process of his public mythologizing. A profoundly private individual, O'Neill struggled throughout his life to overcome his intense discomfort with oral discourse as he responded to the probings of interviewers wishing him to discuss a wide range of social, political, literary, and theatrical issues. Collected in their entirety for the first time, these interviews begin in 1920, when O'Neill was thirty-two. Serious American drama, for many, began and, for many others, ended with Eugene O'Neill. This collection lends new testimony to the truth of that assertion.

Celebrated for their books on Eugene O’Neill and enjoying access to a trove of previously sealed archival material, the Gelbs deliver their final volume on the stormy life and brilliant oeuvre of this Nobel Prize–winning American playwright. This is a tour through both a magical moment in American theater and the troubled life of a genius. Not a peep show or a celebrity gossip fest, this book is a brilliant investigation of the emotional knots that ensnared one of our most important playwrights. Handsome, charming when he wanted to be: O’Neill was the flame women were drawn to—all, that is, except his mother, who never let him forget he was unwanted. By Women Possessed follows O’Neill through his great successes, the failures he was able to shrug off, and the long eclipse, a twelve-year period in which, despite the Nobel, nothing he wrote was produced. But ahead lay his greatest achievements: The Iceman Cometh and Long Day’s Journey into Night. Both were ahead of their time and both received lukewarm receptions. It wasn’t until after his death that his widow, the keeper of the flame, began a fierce and successful campaign to restore his reputation. The result is that today, just over 125 years after his birth, O’Neill is a towering presence in the theater, his work—always in performance here and abroad—still electrifying audiences. Perhaps of equal importance, he is the acknowledged father of modern American theater, the man who paved the way for the likes of Arthur Miller, Tennessee Williams, Edward Albee, and a host of others. But, as Williams has said, at a cost: “O’Neill gave birth to the American theater and died for it.”

In Eugene O'Neill's Creative Struggle, Doris Alexander gives us a new kind of inside biography that begins where the others leave off. It follows O'Neill through the door into his writing room to give a blow-by-blow account of how he fought out in his plays his great life battles&—love against hate, doubt against belief, life against death&—to an ever-expanding understanding. It presents a new kind of criticism, showing how O'Neill's most intimate struggles worked their way to resolution through the drama of his plays. Alexander reveals that he was engineering his own consciousness through his plays and solving his life problems&—while the tone, imagery, and richness of the plays all came out of the nexus of memories summoned up by the urgency of the problems he faced in them. By the way of O'Neill, this study moves toward a theory of the impulse that sets off a writer's creativity, and a theory of how that impulse acts to shape a work, not only in a dramatist like O'Neill but also in the case of writers in other mediums, and even of painters and composers. The study begins with Desire Under the Elms because that play's plot was consolidated by a dream that opened up the transfixing grief that precipitated the play for O'Neill, and it ends with Days Without End when he had resolved his major emotional-philosophical struggle and created within himself the voice of his final great plays. Since the analysis brings to bear on the plays all of his conscious decisions, ideas, theories, as well as the life-and-death struggles motivating them, documenting even the final creative changes made during rehearsals, this book provides a definitive account of the nine plays analyzed in detail (Desire Under the Elms, Marco Millions, The Great God Brown, Lazarus Laughed, Strange Interlude, Dynamo, Mourning Becomes Electra, Ah, Wilderness!, and Days Without End, with additional analysis of plays written before and after.

THE STORY: As told by Chapman, (NY News): The time of the play is 1828, and the setting is a tavern in a village near Boston. The tavern is owned by a tempestuous Irishman, Con Melody, who is as proud as he is ill-tempered. He had been born with w

divEugene O’Neill’s autobiographical play Long Day’s Journey into Night is regarded as his masterpiece and a classic of American drama. With this new edition, at last it has the critical edition that it deserves. William Davies King provides students and theater artists with an invaluable guide to the text, including an essay on historical and critical perspectives; glosses of literary allusions and quotations; notes on the performance history; an annotated bibliography; and illustrations. "This is a worthy new edition, one that I'm sure will appeal to many students and teachers. William Davies King provides a thoughtful introduction to Long Day's Journey into Night—equally sensitive to the most particular and most encompassing of the play's materials."—Marc Robinson/DIV

THE STORY: Originally produced on Broadway, revived to sellout houses in 1996 starring Al Pacino, HUGHIE was one of O'Neill's last works. It was originally intended as part of a series of short plays, but it became the lone survivor when O'Neill de

Specially commissioned essays explore the life and work of Eugene O'Neill from his earliest writings to Long Day's Journey Into Night.