This instant New York Times bestseller—“a jaw-dropping, fast-paced account” (New York Post) recounts SEAL Team Operator Robert O’Neill’s incredible four-hundred-mission career, including the attempts to rescue “Lone Survivor” Marcus Luttrell and abducted-by-Somali-pirates Captain Richard Phillips, and which culminated in the death of the world’s most wanted terrorist—Osama bin Laden. In The Operator, Robert O’Neill describes his idyllic childhood in Butte, Montana; his impulsive decision to join the SEALs; the arduous evaluation and training process; and the even tougher gauntlet he had to run to join the SEALs’ most elite unit. After officially becoming a SEAL, O’Neill would spend more than a decade in the most intense counterterror effort in US history. For extended periods, not a night passed without him and his small team recording multiple enemy kills—and though he was lucky enough to survive, several of the SEALs he’d trained with and fought beside never made it home. “Impossible to put down…The Operator is unique, surprising, a kind of counternarrative, and certainly the other half of the story of one of the world’s most famous military operations…In the larger sense, this book is about…how to be human while in the very same moment dealing with death, destruction, combat” (Doug Stanton, New York Times bestselling author). O’Neill describes the nonstop action of his deployments in Iraq and Afghanistan, evokes the black humor of years-long combat, brings to vivid life the lethal efficiency of the military’s most selective units, and reveals details of the most celebrated terrorist takedown in history. This is “a riveting, unvarnished, and wholly unforgettable portrait of America’s most storied commandos at war” (Joby Warrick).
An “absorbing” biography of the playwright and Nobel laureate that “unflinchingly explores the darkness that dominated O’Neill’s life” (Publishers Weekly). This extraordinary biography fully captures the intimacies of Eugene O’Neill’s tumultuous life and the profound impact of his work on American drama, innovatively highlighting how the stories he told for the stage interweave with his actual life stories as well as the culture and history of his time. Much is new in this extensively researched book: connections between O’Neill’s plays and his political and philosophical worldview; insights into his Irish American upbringing and lifelong torment over losing faith in God; his vital role in African American cultural history; unpublished photographs, including a unique offstage picture of him with his lover Louise Bryant; new evidence of O’Neill’s desire to become a novelist and what this reveals about his unique dramatic voice; and a startling revelation about the release of Long Day’s Journey Into Night in defiance of his explicit instructions. This biography is also the first to discuss O’Neill’s lost play Exorcism (a single copy of which was only recently recovered), a dramatization of his own suicide attempt. Written with both a lively informality and a scholar’s strict accuracy, Eugene O’Neill: A Life in Four Acts is a biography worthy of America’s foremost playwright. “Fast-paced, highly readable . . . building to a devastating last act.” —Irish Times
This study explores the personal, historical, and artistic influences that combined to form such dark and influential American masterpieces as 'The Iceman Cometh', 'The Emperor Jones', 'Mourning Becomes Electra', 'Hughie', and - arguably the finest tragedy ever written by an American - 'Long Day's Journey into Night'.
The dramas of Eugene O'Neill--often called America's first "serious" playwright--exhibit an imagining of the natural world that enlivens the plays and marks the boundaries of the characters' fates. O'Neill's figures move within purposefully animated natural environments--ocean, dense forest, desert plains, the rocky soil of New England. This new approach to O'Neill's dramas explores these ecological settings as crucial to his characters' ability to carry out their conscious and unconscious desires. O'Neill's career is covered, from his youthful one-acts, to the middle years experimental dramas, to the mature tragedies of his late period. Special attention is paid to the connection of ecology and theological quest, and to O'Neill's persistent evocation of an exotic, natural "other." Combining an ecocritical approach with an examination of Classical and philosophical influences on the playwright's creative process, the author reveals a new, less hermetic O'Neill.
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