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Eugene O'Neill : Complete Plays 1913-1920 (Library of America), by Eugene O'Neill
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From the Publisher
The Library of America is an award-winning, nonprofit program dedicated to publishing America's best and most significant writing in handsome, enduring volumes, featuring authoritative texts. Hailed as "the most important book-publishing project is the nation's history" (Newsweek), this acclaimed series is restoring America's literary heritage in "the finest-looking, longest-lasting edition ever made" (New Republic).
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About the Author
Eugene O'Neill (1888-1953) is one of the most significant forces in the history of American theater. With no uniquely American tradition to guide him, O'Neill introduced various dramatic techniques, which subsequently became staples of the U.S. theater. By 1914 he had written twelve one-act and two long plays. Of this early work, only Thirst and Other One-act plays (1914) was originally published. From this point on, O'Neill's work falls roughly into three phases: the early plays, written from 1914 to 1921 (The Long Voyage Home, The Moon of the Caribbees, Beyond the Horizon, Anna Christie); a variety of full-length plays for Broadway (Desire Under the Elms; Great God Brown; Ah, Wilderness!); and the last, great plays, written between 1938 and his death (The Iceman Cometh, Long Day's Journey Into Night, A Moon for the Misbegotten). Eugene O'Neill is a four-time Pulitzer Prize winner, and he was awarded the Nobel Prize in literature in 1936.
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Product details
Series: Library of America (Book 1)
Hardcover: 1104 pages
Publisher: Library of America (October 1, 1988)
Language: English
ISBN-10: 9780940450486
ISBN-13: 978-0940450486
ASIN: 0940450488
Product Dimensions:
5.2 x 1.3 x 8.1 inches
Shipping Weight: 1.5 pounds (View shipping rates and policies)
Average Customer Review:
5.0 out of 5 stars
6 customer reviews
Amazon Best Sellers Rank:
#203,300 in Books (See Top 100 in Books)
As an aspiring playwright, it's helpful to read the early works of great dramatists. To simply read "Long Day's Journey Into Night" or "A Touch of the Poet," while examples of great writing, can be overwhelming. I'll never write like that. But to read O'Neill's earlier stuff... it seems more possible. This is not to say I'm the next O'Neill, obviously: it's an encouragement to others like me who are writing their first plays. Reading only plays like Hamlet or Oedipus Rex can be paralyzing in their greatness. This collection is perfect to see how one of the best started out. As for the book itself, as with other LOA books, the quality is top notch. It's a lifetime investment.
LETS PLAY IT AGAIN.
Volume 1 of Library of America's edition of Eugene O'Neill's plays covers his early years until 1920. Some of the 29 plays included here are not really worth preserving. Many are clearly apprentice work, but none of them is boring or uninteresting. Many are just unimportant and forgettable. Many contain the nucleus of something larger, but remain immature.O'Neill was a white spot on my personal literary map. I don't think I ever watched any of his plays. I knew that he had a Nobel Prize in 1936, but that had not motivated me yet to find out more about him. Now I am happy that I let the Ace talk me into giving O'Neill a try.O'Neill's first book was a collection of 5 plays published by his father under the name `Thirst' in 1916. Some of them were staged, mostly in Provincetown. They are apprentice work and deal with O'Neill's personal agenda: drinking, tuberculosis, suicide, the sea, unstable relations, father and son conflicts.In 1950, a publisher assembled the 5 plays of `Thirst' plus 5 others written in the 1910s under the title "Ten `Lost' Plays by Eugene O'Neill". Two of the plays were quite promising (`The Movie Man' has a Hollywood firm pay for exclusive rights to battles and executions in a Mexican uprising; `Servitude' has a woman believing naively that her favorite writer means and lives what he writes).O'Neill became more substantial with `The Personal Equation': a four act play about a group of radicals in the time before WW1. They want to stir up the proletariat to stand together for international solidarity. (That was not to happen, as we know. Instead, when the war began, the proletarians of all nations all flogged to their respective flags.)The radical group plans an act of sabotage against a shipping line, which is supposed to be followed by a general strike. The idea fails, as personal relations and entanglements of the designated saboteur intervene, such as a love affair and a father in the opposite camp.The play was first produced in New York in 2000.I would have expected that stuff like this could have caused trouble with Joe McCarthy. I don't know enough about O'Neill to know if he did have such trouble.Another collection of early plays was `The Moon of the Caribbees', which united 7 plays in a book, mainly sea stories. These were all produced either in Provincetown or in New York. They are short stories adjusted to the stage. They might have been better as short stories, but they are not uninteresting.`Before Breakfast': an eminently playable short piece about a drinking woman, a one-person play insofar as the husband is only `talked' to or nagged at.`Now I ask you': a comedy that seems to start with a suicide, about a confused young upper class woman who believes that she believes in free love. Rather silly and not worth reviving.`Beyond the Horizon' was his breakthrough to Broadway and Pulitzer, in 1920. It is a depressed story of bad choices, irreparable consequences, and endless regrets.`Shell Shock' is a strong one-act play about WW1 soldiers; it suffers from an all too miraculous healing of the title problem.`The Dreamy Kid' is a short play with an all-black cast. The title hero is a young gangster who should run from the police, but can't, as he must stay with his dying grandmother, who put a curse on him in case he leaves her alone. This was used as libretto for a (jazz?-) opera by J.P. Johnson, which might be more interesting than the play itself.`The Straw' is a strong play about 2 young people who meet in a lung sanatorium. It has autobiographical elements and can be seen as an attempt at atoning for past misdeeds.`Chris Christophersen' has a Swedish sailor working as a coal barge skipper along the US east coast; he meets his neglected daughter after years. A bit lame.`Gold' is a stretch version of `Where the Cross is Made', which was included in the `Moon of the Caribbees' collection. A retired sailor has infected his son with the same obsession that clouds his own mind.`Anna Christie' won O'Neill his second drama Pulitzer in 1922. It is a reworking of the earlier `Chris Christophersen'. The Swede's story is turned towards the daughter's perspective. She meets her father after so many years and hides her life in prostitution from him and her new suitor.The volume closes with tom-toms and the majestic play `The Emperor Jones'. O'Neill left his accustomed realm of realism and went for the heart of darkness.
Not all of O'Neill's plays were successful. However, it was fascinating to see him grow as a playwrite and tackle issues that one would not think of being tackled in the early 1900's. O'Neill's plays truly speak to you, to everyone, and get at the heart of many social problems. While not everything he tried to do was perfectly executed, O'Neill did push the boundaries of what was acceptable in plays, both simply written and actually for the stage. An entire class is taught on O'Neill's plays. This edition of his complete works is amazing and gives the reader some other versions of plays that were not actually staged because of the difficulties in staging them and/or the public disapproval of the material/length of the plays.
It isn't clear who would be apt to read this volume of early plays by O'Neill. These days, drama departments seem to assign new plays by unknown playwrights, as though the professors were in the pay of the publishers. Why order books by dead writers? These plays, however, are much more useful, I should think, for the aspiring playwright because they are exercises of a young dramatic master in his early stage of apprenticeship. He is learning his craft and writing his way to mastery. They are marvelous models of an immature writer. They are not perfect specimens, not intimidating masterworks, but slight, flawed works that any playwright might feel inspired by. They are awkward, rough, even stale, but each seeks to perform a dramatic task. O'Neill was very conscious of what he sought to do. These are not entertainments. Read them, learn from them, learn not to write this badly, and you'll be on your way.
This is a tremendous source work, providing a sequential study of O'Neill's development as a dramatist. While not all of the plays are particularly successful, they reveal themes and settings that would provide the foundation for the later O'Neill masterworks. And there are many wonderful early dramas, such as the four S.S. Glencairn plays, his first broadway success "Beyond the Horizon," and the daring "Anna Christie," all of which tested and expanded the dramatic form in America. A wonderful collection!
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