Death of a Salesman (Bloom's Guides)

Death of a Salesman (Bloom's Guides)

Death of a Salesman (Bloom's Guides)
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Book Summary Information

Editor: Harold Bloom
Editor: Henry W
Editor: Albert A. Berg
Edition: Hardcover
Audio: English (Unknown); English (Original Language); English (Published)
Published: 2006-01
ISBN: 0791075648
Number of pages: 112
Publisher: Chelsea House Publications

Summary of Death of a Salesman (Bloom's Guides)

Arthur Miller's Death of a Salesman, part of Chelsea House Publishers' Bloom's Guides collection, presents concise critical excerpts from Death of a Salesman to provide a scholarly overview of the work. This comprehensive study guide also features "The Story Behind the Story," which details the conditions under which Death of a Salesman was written. This title also includes a short biography on Arthur Miller and a descriptive list of characters.
Arthur Miller's 1949 Death of a Salesman has sold 11 million copies, and Willy Loman didn't make all those sales on a smile and a shoeshine. This play is the genuine article--it's got the goods on the human condition, all packed into a day in the life of one self-deluded, self-promoting, self-defeating soul. It's a sturdy bridge between kitchen-sink realism and spectral abstraction, the facts of particular hard times and universal themes. As Christopher Bigsby's mildly interesting afterword in this 50th-anniversary edition points out (as does Miller in his memoir, Timebends), Willy is closely based on the playwright's sad, absurd salesman uncle, Manny. But of course Miller made Manny into Everyman, and gave him the name of the crime commissioner Lohmann in Fritz Lang's angst-ridden 1932 Nazi parable, The Testament of Dr. Mabuse.

The tragedy of Loman the all-American dreamer and loser works eternally, on the page as on the stage. A lot of plays made history around 1949, but none have stepped out of history into the classic canon as Salesman has. Great as it was, Tennessee Williams's work can't be revived as vividly as this play still is, all over the world. (This edition has edifying pictures of Lee J. Cobb's 1949 and Brian Dennehy's 1999 performances.) It connects Aristotle, The Great Gatsby, On the Waterfront, David Mamet, and the archetypal American movie antihero. It even transcends its author's tragic flaw of pious preachiness (which undoes his snoozy The Crucible, unfortunately his most-produced play).

No doubt you've seen Willy Loman's story at least once. It's still worth reading. --Tim Appelo

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