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Entries A1–A21


A1 Abbott, Michael. “The Curse of the Misbegotten: The Wanton Son in the Plays of Eugene O’Neill and Sam Shepard.” Eugene O’Neill Review 18.1-2 (1994): 193-98.

Though articulating several points of similarity between O’Neill and Shepard, Abbott focuses on “their depiction of the wanton son, their most complex and directly autobiographical character,” which renders Shepard “O’Neill’s most direct descendant.”

A2 Acharya, Shanta. “Beyond the ‘New Woman’ in O’Neill’s Strange Interlude.” Triveni: A Journal of the Indian Renaissance 49.4 (1980): 57-65.

Nina is the “new woman” who revolts against restrictions, forging her own destiny.

A3 _____. “Beyond the ‘New Woman’ in O’Neill’s Strange Interlude.” Abstracts of English Studies (June 1986); and Eugene O’Neill Newsletter 10.2 (1986): 47.

Abstracts the article published in Triveni: A Journal of the Indian Renaissance 49.4 (1980): 57-65.

A4 Ackerly, Chris. “Lowry and O’Neill: Cows and Pigs and Chickens.” Malcolm Lowry Review 19-20 (1986-87): 129-30.

Yank’s dream of a farm in Cardiff is echoed by Yvonne in Under the Volcano.

A5 Adler, Thomas P. “‘Through a Glass Darkly’: O’Neill’s Aesthetic Theory as Seen through His Writer Characters.” Arizona Quarterly 32 (1976): 171-83.

Referencing nine O’Neill writer-characters, Adler shows that from the poet in Fog to Edmund in Journey, O’Neill demonstrated that writers can lift man from confusion to truth.

A6 _____. “Two Plays for Puritans.” Tennessee Williams Newsletter 1.1 (1978): 5- 7.

Finds that “the numerous correspondences in plot, stage setting, characters, language, imagery, use of biblical allusions and the Oedipal motif, and even similar quasi-religious, religious or philosophical attitudes all suggest that Tennessee Williams had O’Neill’s Desire at least unconsciously in mind when he wrote Kingdom of Earth (The Seven Descents of Myrtle).” Concludes, though, that Kingdom fails as a play while Desire succeeds.

A7 _____. “The Mirror as Stage Prop in Modern Drama.” Comparative Drama 14 (1980): 355-73.

Discusses four dramas—Pirandello’s It Is So! (If You Think So), Camus’ Caligula, Genet’s The Balcony, and Touch—and three musicals—Man of La Mancha, Cabaret, and A Chorus Line—in terms of the mirror as prop. When Con Melody first stands in front of the mirror, he tries to erase the “son of a thievin’ shebeen keeper” but in his last appearance, he parodies his earlier performance as major.

_____. “A Cabin in the Woods, A Summerhouse in a Garden: Closure and Enclosure in O’Neill’s More Stately Mansions.” Eugene O’Neill Newsletter 9.2 (1985): 23-27.

In Mansions “O’Neill achieves closure through multiple images of enclosure.” Act II, for example, ends as Simon is encircled by his mother and his wife. The play ends as Sara locks herself in the cabin and Deborah entombs herself in the summerhouse. Suggests that Electra and Journey also achieve closure through enclosure.

A9 _____. “‘Daddy Spoke to Me!’: Gods Lost and Found in Long Day’s Journey into Night and Through a Glass Darkly.” Comparative Drama 20 (1986): 341-48.

Finds similarities between O’Neill’s play and the Bergman film: both are plays of four figures; in both plays the crisis in faith is bound up with a failure in vocation; both plays move from darkness into light (however momentarily); women characters in these plays see the image of a male God as threatening, etc.

A10 _____. “Beyond Synge: O’Neill’s Anna Christie.” Eugene O’Neill Newsletter 12.1 (1988): 34-39.

In his opening paragraph Adler outlines what he will do in this article: 1) look at Riders to the Sea for “visual and verbal texture” that appealed to O’Neill; 2) examine Anna to see how Synge’s work was “personalized” by O’Neill; 3) consider the theme of personal freedom in this play as one that appealed to O’Neill throughout his canon.

A11 _____. “The Legacy of Eugene O’Neill According to Stark Young.” Eugene O’Neill Review 20.1-2 (1996): 64-70.

Critiques the critic, searching for the basis of Young’s admiration for O’Neill. Adler determines that the myth-making and soul-baring qualities of the drama are what endear it to Young. Ultimately, Young’s assessment of O’Neill can be found in the “Critic’s Diary”: “whatever (O’Neill’s) faults and limitations, he breaks your heart.”

A12 Alvarez, Carmen Gago. “O’Neill and Tragedy—A Longing to Die.” Estudos Anglo-Americanos (Sao Paulo, Brazil) 12-13 (1988-89): 24-29.

In Iceman, Journey and Electra the characters are in love with death and that death gives meaning to their lives—their only solution for dissatisfaction with themselves and their plights.

A13 _____. “‘Hybris and the Mannons’: A Study of Eugene O’Neill’s Trilogy Mourning Becomes Electra.” Estudos Anglo-Americanos (Sao Paulo, Brazil) 17-18 (1993-94): 23-41.

Alvarez’s intent is “to prove that O’Neill’s trilogy, Mourning Becomes Electra, deals with the tragedy of self, or we might say referring back to Greek tragedy, that it is a tragedy of hybris—not the wanton insolence in the Greek sense of the word—but a tragedy of pride, the Mannons’ tragic flaw.” The work is about the search for self, one which leads to “frustration and self destruction.”

A14 Alvis, John. “On the American Line: O’Neill’s Mourning Becomes Electra and the Principles of the Founding.” Southern Review 22.1 (1986): 69-85.

Argues that “twentieth-century American drama reflects the reduction of equality and liberty accomplished by the determinist historians and by the followers of Freud”—plays tend to be either economic parables or Freudian analyses. But a few plays move beyond these limits to achieve “artistic honesty.” Looks at Electra as a play in which “O’Neill goes some distance toward reestablishing a moral meaning for equality and liberty.”

A15 Antush, John V. “Eugene O’Neill: Modern and Postmodern.” Eugene O’Neill Review 13.1 (1989): 14-26.

In the playwright’s attack on the superficial realism of the stage we find O’Neill’s contribution to modernism and his anticipation of postmodernism as well since “the more radical postmodernism questions the codes, myths, techniques of modernism.” Anna furnishes the evidence.

A16 Applebome, Peter. “The Iceman of Kevin Spacey.” New York Times 4 Apr. 1999, sec. 2: 1+

Spacey says of Iceman, “You know, it’s crazy. The play has everything going against it. It’s too long, it’s clunky, it’s got all its difficulties. But one reason I’ve fallen in love with it is because O’Neill not only knew these people, he loved them, and he wrote about them with clarity and with an outrageous sense of humor that allows them to rib each other and be in on the joke.” (The interview also reveals that Spacey supports an egalitarian approach to acting: he receives the same minimal-scale wage as the other actors.)

A17 Apseloff, Stanford S. “Eugene O’Neill: An Early Letter.” Resources for American Literary Study 1 (1981): 109-11.

See Primary Works section, G10.

A18 Ardolino, Frank. “Irish Myth and Legend in Long Day’s Journey into Night and A Moon for the Misbegotten.” Eugene O’Neill Review 22.1-2 (1998): 63-69.

Edmund’s anecdote about the Shaughnessy-Harker conflict in Journey, that becomes the centerpiece of Misbegotten, is presented as a microcosm of struggles and triumphs of Irish history and myth. Sean O’Faolain’s The Great O’Neill (no, not about Eugene) enters the plot.

A19 Astington, John H. “Shakespeherian Rags.” Modern Drama 31 (1988): 73-80.

In an intriguing if sometimes strained discussion of Journey, Astington details what he sees as Shakespearean influences on the play. Contends that the particularly biographical themes of Journey prompted O’Neill “unconsciously or not” to hint at the imagery of Antony and Cleopatra as well as Romeo and Juliet.

A20 Badino, Margareth M. Scarton. “The Self Destructiveness of an Idealist: A Study of Mary Tyrone in Eugene O’Neill’s Long Day’s Journey into Night.” Estudos Anglo-Americanos (Sao Paulo, Brazil) 5-6 (1981): 118-36.

Explains Mary Tyrone’s symbolic regression at the end of the play as a search “for lost innocence.” Memories and illusions provide no comfort, however, and “she finishes as a loser when attempting to regain … (her innocence) by retreating to her past.”

A21 Bagchee, Shyamal. “On Blake and O’Neill.” Eugene O’Neill Review 14.1-2 (1990): 25-38.

“The aim of this essay is quite limited: to describe as clearly as possible the probable grounds of imaginative contact and similarity between O’Neill and Blake”; Blake’s legendary Irish/O’Neil heritage, the poet’s romanticism (his idealism, his social conscience) and other “confluences” are discussed herein.

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