In the foreword to our "Pre-Laconics"
volume, I stated that Laconics would pattern itself
along the line of Fred Wilkins' original Eugene O'Neill
Newsletter. So, as I sat down to write the foreword to
Volume 2, I decided to look back at what Fred had to say in
his initial forewords to the Newsletter.
In January of 1978, Fred wrote, "It has been a gratifying
experience to guide the Eugene O'Neill Newsletter through
its first full year of existence. The index to Volume I at
the end of this issue suggests the breadth of material its
pages have included, thanks to the diligence of its
dedicated readers. The subscription list continues to grow
rapidly and now includes, in addition to the United States,
individual and institutional subscribers in Canada, France,
Hungary, Ireland, Italy, Poland, Sweden and West Germany.
Doubtless, there are many more who might wish to receive it
and submit material for its pages if they but knew of its
existence; and so I urge all who have found the Newsletter's
first four issues interesting and valuable to tell friends,
theatres and libraries of its availability."
Eighteen provocative and entertaining essays were accepted
for publication in Volume 1 of Laconics. From the
perspective of both quality and quantity, the first year of
our young online journal was a smashing success. Like the
Newsletter, visitors from all over the world read our
essays. Unlike the Newsletter (or The Eugene
O'Neill Review), no subscription is needed. Laconics
can be freely accessed by anyone with a computer and an
In January of 1979, Fred wrote, "The editor's
longstanding desire to include photographs has at last been
realized. What an asset it can be, for scholars and theatre
people alike, to have set designs and action shots of
productions otherwise inaccessible to them. Future
contributors should seriously consider submitting diagrams,
drawings and photographs to accompany articles—especially
reports and reviews of specific productions."
Volume 2 of Laconics realizes a similar enhancement.
The initial essay of the current volume integrates audio
clips into the text to illustrate its arguments, as it makes
use of recordings from four productions of O'Neill's one-act
play Hughie. Our second offering is a musical
adaptation of O'Neill's The Hairy Ape, including
audio clips of the songs. I leave it to you to evaluate
these works from a scholarly and artistic perspective. But I
think you'll agree that this enhancement is indeed a special
one, and takes a step forward towards unlocking the
potential of the online journal.
Laconics welcomes provocative articles of any length
concerning the life, times, and work of Eugene O’Neill and
his contemporaries. Essays accepted for publication
throughout the year will be added to the above table of
contents. Please submit papers (with digital images, audio
clips, or video clips) to the