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Selected letters of Eugene O'Neill / edited by Travis Bogard and Jackson R. Bryer.

By: O'Neill, Eugene, 1888-1953.
Contributor(s): Bogard, Travis | Bryer, Jackson R.
Material type: TextTextPublisher: New Haven : Yale University Press, c1988Description: xi, 602 p. : ill. ; 26 cm.ISBN: 0300043740; 9780300043747.Uniform titles: Correspondence. Selections Subject(s): O'Neill, Eugene, 1888-1953 -- Correspondence | Dramatists, American -- 20th century -- Correspondence | 11030 drama p1030 American p1030 O'Neill, 1888-1953 | Dramatists, 20th Biography | O'Neill Eugene 1888-1953DDC classification: 812/.52 | B LOC classification: PS3529.N5 | Z48 1988Other classification: 18.06
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Book University of Texas At Tyler
Stacks - 3rd Floor
PS3529.N5 Z48 1988 (Browse shelf) Available 0000000387076

Includes bibliographies and index.

Reviews provided by Syndetics


This is the finest collection of O'Neill letters to date. It does not supersede "Love and Admiration and Respect": The O'Neill-Commins Correspondence (CH, Feb '87) or "As Ever, Gene": The Letters of Eugene O'Neill to George Jean Nathan (CH, Mar '88), but it does provide the fullest and most succinct portrayal of O'Neill as private man and playwright. Bogard and Bryer have combined their considerable biographical, bibliographical, and critical expertise to present what is, in some ways, a new O'Neill. They quite rightly claim to have documented a personality that was far more varied--more cheerful and involved with the world--than has been shown in biographies emphasizing his gloomy, tragic view of life. Every significant period of O'Neill's life and career is represented and glossed in helpful, well-annotated introductions. An essential volume for general readers, students, and scholars interested in 20th-century literature and biography. -C. Rollyson, Bernard M. Baruch College, CUNY

Author notes provided by Syndetics

Eugene O'Neill was born in New York City on October 16, 1888, the son of popular actors James O'Neill and Ellen Quinlan. As a young child, he frequently went on tour with his father and later attended a Catholic boarding school and a private preparatory school. He entered Princeton University but stayed for only a year. He took a variety of jobs, including prospecting for gold, shipping out as a merchant sailor, joining his father on the stage, and writing for newspapers. In 1912, he was hospitalized for tuberculosis and emotional exhaustion. While recovering, he read a great deal of dramatic literature and, after his release from the sanitarium, began writing plays. <p> O'Neill got his theatrical start with a group known as the Provincetown Players, a company of actors, writers, and other theatrical newcomers, many of whom went on to achieve commercial and critical success. His first plays were one-act works for this group, works that combined realism with experimental forms. <p> O'Neill's first commercial successes, Beyond the Horizon (1920) and Anna Christie (1921) were traditional realistic plays. Anna Christie is still frequently performed. It is the story of a young woman, Anna, whose hard life has led her to become a prostitute. Anna comes to live with her long-lost father, who is unaware of her past, and she falls in love with a sailor, who is also unaware. When Anna finds the two men fighting over her as though she were property, she is so angry and disgusted that she insists on telling them the truth. The man she loves rejects her at first, but then later returns to marry her. <p> Soon O'Neill began to experiment more, and over the next 12 years used a wide variety of unusual techniques, settings, and dramatic devices. It is no exaggeration to say that, virtually on his own, O'Neill created a tradition of serious American theater. His influence on the playwrights who followed him has been enormous, and much of what is taken today for granted in modern American theater originated with O'Neill. A major legacy has been the nine plays he wrote between 1924 and 1931, tragedies that made heavy use of the new Freudian psychology just coming into fashion. His one comedy, Ah, Wilderness (1933), was the basis for the musical comedy, Oklahoma!, itself a groundbreaking event in American theater. <p> O'Neill later began to write the intense, brooding, and highly autobiographical plays that are now considered to his best work. The Iceman Cometh (1946) is set in a bar in Manhattan's Bowery, or skid-row district. In the course of the play, a group of apparently happy men are forced to recognize the true emptiness of their lives. In A Long Day's Journey into Night (1956), O'Neill examines his own family and their tormented lives, a subject he continues in A Moon for the Misbegotten (1957). <p> O'Neill's work was highly honored. He was awarded the Nobel Prize for literature in 1936 and Pulitzer Prizes for Anna Christie, Beyond the Horizon, Strange Interlude (1928), and A Long Day's Journey Into Night, which also received the New York Drama Critics Circle Award. <p> O'Neill died in Room 401 of the Sheraton Hotel on Bay State Road in Boston, on November 27, 1953, at the age of 65. He was also born in a hotel room in Times Square, NYC. <p> (Bowker Author Biography)

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