Now in paperback—the classic, monumental biography of Poe by Arthur Hobson Quinn. Renowned as the creator of the detective story and a master of horror, the author of "The Red Mask of Death," "The Black Cat," and "The Murders of the Rue Morgue," Edgar Allan Poe seems to have derived his success from suffering and to have suffered from his success. "The Raven" and "The Tell-Tale Heart" have been read as signs of his personal obsessions, and "The Fall of the House of Usher" and "The Descent into the Maelstrom" as symptoms of his own mental collapse. Biographers have seldom resisted the opportunities to confuse the pathologies in the stories with the events in Poe's life. Against this tide of fancy, guesses, and amateur psychologizing, Arthur Hobson Quinn's biography devotes itself meticulously to facts. Based on exhaustive research in the Poe family archive, Quinn extracts the life from the legend, and describes how they both were distorted by prior biographies.
Renowned as the creator of the detective story and a master of horror, the author of "The Red Mask of Death," "The Black Cat," and "The Murders of the Rue Morgue," Edgar Allan Poe seems to have derived his success from suffering and to have suffered from his success. "The Raven" and "The Tell-Tale Heart" have been read as signs of his personal obsessions, and "The Fall of the House of Usher" and "The Descent into the Maelstrom" as symptoms of his own mental collapse. Biographers have seldom resisted the opportunities to confuse the pathologies in the stories with the events in Poe's life. Against this tide of fancy, guesses, and amateur psychologizing, Arthur Hobson Quinn's biography devotes itself meticulously to facts. Based on exhaustive research in the Poe family archive, Quinn extracts the life from the legend, and describes how they both were distorted by prior biographies.
The first three volumes of a series that is to run to the present day and give complete theatrical records of their periods, with elaborate indexes of plays, players, and playwrights.
Celebrated for their books on Eugene O’Neill and enjoying access to a trove of previously sealed archival material, the Gelbs deliver their final volume on the stormy life and brilliant oeuvre of this Nobel Prize–winning American playwright. This is a tour through both a magical moment in American theater and the troubled life of a genius. Not a peep show or a celebrity gossip fest, this book is a brilliant investigation of the emotional knots that ensnared one of our most important playwrights. Handsome, charming when he wanted to be: O’Neill was the flame women were drawn to—all, that is, except his mother, who never let him forget he was unwanted. By Women Possessed follows O’Neill through his great successes, the failures he was able to shrug off, and the long eclipse, a twelve-year period in which, despite the Nobel, nothing he wrote was produced. But ahead lay his greatest achievements: The Iceman Cometh and Long Day’s Journey into Night. Both were ahead of their time and both received lukewarm receptions. It wasn’t until after his death that his widow, the keeper of the flame, began a fierce and successful campaign to restore his reputation. The result is that today, just over 125 years after his birth, O’Neill is a towering presence in the theater, his work—always in performance here and abroad—still electrifying audiences. Perhaps of equal importance, he is the acknowledged father of modern American theater, the man who paved the way for the likes of Arthur Miller, Tennessee Williams, Edward Albee, and a host of others. But, as Williams has said, at a cost: “O’Neill gave birth to the American theater and died for it.”
A portrait of the award-winning American author offers a close-up look at the life and career of Upton Sinclair, discussing his literary works, his unsuccessful political career, his often controversial views, and his personal relationships.
Charlotte Cushman, one of the great actors of 19th century American theatre, was a lesbian who kept her identity hidden by focusing her career on male characters (Romeo, Claude Melnotte, Wolsey), and also on strong and passionate women (Lady Macbeth, Bianca in Fazio, and Queen Katherine in Henry VIII). This biography is an authoritative record of Cushman's life and performances, showing how her complex gender identity illuminates and is illuminated by 19th century theatre critical views. Part One is a biography; Part Two is a performance history listing all of Cushman's known performances, often with a description of her role and critical commentary.
The Soul of America undertakes to trace the development of those spiritual values that have become an integral and permanent part of the American character. The first part of the book is devoted to an examination of the interrelationship between these spiritual values and historical events. The author then proceeds with a thorough analysis of those elements of the American spirit that are most characteristic today: democracy, efficiency, liberality, provincialism, individuality, humor, and vision. These interpretations are presented from an original viewpoint that ignores conventional opinions and outwork clichés, giving the reader new insight into the forces that shape American history. This book is valuable not only as a study of the past but also as a guide to understanding the contemporary scene and the course of America's future.
In the 1920s, the playwright Sidney Howard and his wife, actress Clare Eames, were at the heart of the movement to change the American theater from a commercial enterprise to one with art at its center. Sidney gained fame writing They Knew What They Wanted (which won the Pulitzer Prize) in 1924. A dramatist for the Theatre Guild, he wrote Ned McCobb's Daughter and The Silver Cord and became the voice of American theater's fight against censorship. Energetic and ambitious Clare played some of the greatest dramatic roles for women, including Queen Elizabeth, Lady MacBeth, and Hedda Gabler. For a time, Sidney and Clare were an ideal couple, collaborating on dramas and drawing admirers in both England and America. This dual biography illuminates the growth of the American art theater, gives intimate details into the work of the couple, and reveals a glamorous doomed romance. The letters interspersed throughout the text detail the couple's thoughts on the artistic process, acting, writing, and the social and theatrical circles in which they moved. Including many letters and reviews from the era, this study describes Sidney and Clare's relationships, careers, and the dramatic disintegration of their marriage, set against the background of one of the most artistically fertile periods of American drama.
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