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Editor’s Foreword

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 internet connection.

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 Laconics Editor.

—Harley Hammerman