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Editor: Frederick Wilkins
Suffolk University, Boston

Vol. IX, No. 2
Summer-Fall, 1985


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IN THIS ISSUE)

PERSONS REPRESENTED IN THIS ISSUE

THOMAS P. ADLER, Professor of English at Purdue University, is the author of a book on Robert Anderson, chapters on Williams and Albee, and a study of the Pulitzer dramas, including O'Neill's four. At the 1984 O'Neill conference, he spoke on "Beyond Synge: O'Neill's Anna Christie." The essay in this issue was delivered at the special session on O'Neill during the 1984 MLA convention in Washington, D.C., last December.

TRAVIS BOGARD, Professor of Dramatic Art at the University of California, Berkeley, is the author of Contour in Time: The Plays of Eugene O'Neill (Oxford U.P., 1972), which he is currently revising for an imminent paperback edition. He is cataloging the extant letters of O'Neill, preparing an edition of selected letters with Jackson Bryer, and editing the volume of O'Neill's plays that will be a part of the Library of America series.

BERT CARDULLO is Assistant Professor of Theatre at Louisiana State University. His essay, "The Function of Simon Harford in A Touch of the Poet," appeared in the Spring 1984 issue of the Newsletter (pp. 27-28).

DONALD GALLUP was, from 1947 to 1980, Curator of the Collection of American Literature, now housed in the Beinecke Rare Book and Manuscript Library at Yale University. He edited O'Neill's Poems, 1912-1944 (Ticknor & Fields, 1980); created a dramatized development of O'Neill's scenario for The Calms of Capricorn (Ticknor & Fields, 1982); and transcribed O'Neill's Work Diary, 1924-1943, which was published in two volumes by the Yale University Library in 1981.

NORMA JENCKES is Assistant Professor of English at the University of Cincinnati where she is a drama specialist. She has published articles on Shaw, Canadian theatre history and modern Irish poetry, and edited a facsimile of the holograph of Shaw's Arms and the Man. The essay in this issue marks her first foray into O'Neill studies.

MICHAEL MANHEIM, Professor of English at the University of Toledo, is the author of Eugene O'Neill's New Language of Kinship (Syracuse U.P., 1982), and of "The Transcendence of Melodrama in O'Neill's The Iceman Cometh," in Critical Essays on Eugene O'Neill, ed. James J. Martine (G.K. Hall & Co., 1984), plus a number of essays in the Newsletter and in Comparative Drama.

JEAN ANNE WATERSTRADT is Professor of English at Brigham Young University, where her Eugene O'Neill seminar has done much to arouse local interest in the playwright. (See p. 47 of the Spring 1984 issue.) Professor Waterstradt was a participant in the "Teaching O'Neill" session at the 1984 conference in Boston. The essay in this issue was delivered at a session of the Rocky Mountain MLA conference in El Paso in October 1984.

(IN THIS ISSUE)

 

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