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Editor: Frederick Wilkins
Suffolk University, Boston

Vol. V, No. 3
Winter, 1981


(IN THIS ISSUE)

PERSONS REPRESENTED IN THIS ISSUE

MARSHALL BROOKS, essayist and printer, is the editor of Nostoc and associate editor of the Eugene O'Neill Newsletter. Nostoc #10, published last summer, comprises eight short short stories and sketches by James T. Farrell, two of which were there published for the first time. For information about the issue, which has won critical accolades, and about Mr. Brooks' other publishing activities, write him at Arts End Books, Box 162, Newton, MA 02168.

PETER EGRI, Professor and Chairman of the Department of English at L. Eotvos University, Budapest, Hungary, was previously represented in the Newsletter's May 1977, September 1978, and September 1979 issues. It is a pleasure to welcome him back to its pages, even in the form of serialized reprint, after a year's lapse. His book, Chekhov and O'Neill: The Uses of the Short Story in Chekhov's and O'Neill's Plays, will soon be published.

WINIFRED FRAZER, Professor of English, Emeritus, University of Florida, is Acting President of the Eugene O'Neill Society and a regular contributor to the Newsletter's pages. She has published numerous articles on O'Neill and is the author of Love As Death in "The Iceman Cometh": A Modern Treatment of an Ancient Theme (1967). Her last essay in the Newsletter was a review of the Donald Gallup edition of O'Neill's Poems: 1912-1944 (Winter 1980, pp. 5-9).

SHENG-CHUAN LAI is pursuing a doctoral degree in drama at the University of California-Berkeley. He expects to complete his dissertation--on Eastern and Western stage shapes and conventions--in 1983. The essay abstracted in this issue will appear in full in a forthcoming issue of Theatre Journal.

DEBORAH KELLAR PATTIN, the Newsletter's intrepid reviewer-correspondent from the northwest United States, is currently teaching high school in Olympia, Washington. She is a member of the Membership Committee of the Eugene O'Neill Society and of the Eugene O'Neill Foundation, Tao House. In past issues, she has reported on her own production of A Touch of the Poet (May-September, 1980) and reviewed a Seattle production of Ah, Wilderness! (Spring 1981). She will report on a Tacoma production of Desire Under the Elms in the next issue.

JOSEPH PETITE is an Assistant Professor of English in the Division of Languages-Humanities at Columbus College in Columbus, Georgia. He delivered the paper herein printed at a special session on O'Neill at the 1976 MLA Convention in New York City. It is printed at last because the editor received a request for the paper (from a subscriber in India who had read of it in the September 1977 issue, p. 7), and, seeing it, decided it merited a wider readership.

SHELLY REGENBAUM is an Assistant Professor in the Department of Speech (Theatre Program) at Kansas State University. Her paper on "O'Neill and the Hebraic Theme of Sacrifice," for which she provided the abstract printed herein, was delivered at last summer's American Theatre Association convention in Dallas, Texas.

SUSAN TUCK is co-editor with Horst Frenz of Eugene O'Neill's Critics: Voices from Abroad, soon to be published by Southern Illinois University Press. A doctoral candidate in English at Indiana University, where she has served as editorial associate of the Yearbook of Comparative and General Literature, Ms. Tuck is completing a dissertation on O'Neill and Faulkner. She is also readying an article on Wedekind and O'Neill which examines the influence of Spring's Awakening on Ah, Wilderness! and of the Lulu plays on Strange Interlude; and a ma. which examines the influence on O'Neill of several modern novelists including Dostoyevsky (Crime and Punishment), Strindberg (The Son of a Servant), Lawrence (Women in Love), Joyce (Ulysses), and Faulkner (The Sound and the Fury).

(IN THIS ISSUE)

 

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