 |
Death of a Salesman (Viking Critical Library) by Arthur Miller
Book Summary InformationAuthor: Arthur Miller Editor: Gerald Weales Edition: Paperback Audio: English (Unknown); English (Original Language); English (Published) Published: 1996-01-01 ISBN: 0140247734 Number of pages: 448 Publisher: Penguin (Non-Classics) Product features: - ISBN13: 9780140247732
- Condition: New
- Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!
Book Reviews of Death of a Salesman (Viking Critical Library)Book Review: Linda's story Summary: 5 Stars
The novel, the theater, and cinema--perhaps the three most popular and enduring arts of the 20th century, with the last practically an indigenous American invention (with all due apologies to the Lumiere brothers, George Melies, and France in general). And that never-exhausted, always relevant and topical subject (suddenly seeming more controversial than ever), the "American Dream," has at least one essential, archetypal text in each of the three media. "The Great Gatsby" is still the leading contender in the novel; "Citizen Kane" is the acclaimed, indispensable film text (notwithstanding a maverick's personal preference for Altman's "Nashville"); "Death of a Salesman" cuts right to the heart of the grand national illusion with a surgical precision that O'Neill, Tennessee Williams, William Inge or any other playwright simply can't match.
If you've read or seen the play, you may wish to start at the end this time--the Requiem. After seeing it as a college freshman (performed by the Guthrie in Minneapolis), I experienced the full effects of an Aristotelian catharsis before even knowing what it was. At that time the easiest character to identify with was Biff--the straight-talking, tell-it-like-it-is, loving but self-analytical son who pronounces his father's the "wrong" dream, a lie that had poisoned family relations for his entire life. But as you continue reading through the Requiem you take seriously the eulogies of the remaining three characters, and as the years go by, each has the potential to become the definitive judgment upon the life of Willie Loman, the American dream, and even one's own life-story.
We give Hap some credit--it's the Leo Durocher-Vince Lombardi-Knute Rockne speech that we've heard so many times before, or seen portrayed in countless numbers of films, during which we receive rewarding, highly satisfying and spine-tingling sensations while witnessing the underdog finally come out on top by pursuing the dream with determination, faith and optimism--as though there were no other dream worth considering. Many of those who, in the early 1980s, greeted a new "morning in America" might find themselves nodding in agreement with Hap's belief in the self and in a free-enterprise system offering ample rewards to those with the sense to reach out for them. But for many other older thoughtful readers, Willie's friend Charlie comes closest to an acceptable diagnosis and evaluation. As if answering Biff directly, Charlie defends not the dream (or the system) but the person of Willie. It's presumptuous if not arrogant for any of us to blame someone like Willie for chasing after his dream. All he had, apart from his ability to build a porch and make house repairs, was a "shoeshine and a smile"--the prototypal American capitalist, seeking to make money out of money, caught up in a system that doesn't reward those without youth, good looks, industry and personal, charismatic energy. But a "system" is not a relationship, is not fulfilling of itself, leaves the stumbling Willies vulnerable to loneliness, disappointment, momentary glimpses of reality to be muted through escapes, whether gambling, alcohol, or in Willie's case, marital infidelity (though Miller, unlike the American Puritanical tradition and in the spirit of Dante, makes it quite clear that Willy's "fatal flaw" is not his cheating on Linda but his hypocrisy. The play ultimately refuses to equate morality with sexual behavior, and if we take Charlie seriously, even Willy's hypocrisy (his lies to Biff, Linda, himself) should not concern us.
So Charlie takes a forgiving line, one we might all wish our Maker would take toward us come judgement day. You can smile all you want, but when people stop smiling back--and some elder citizens just can't muster up the infectious smile of the aforementioned President, or they may no longer be noticed as individuals worthy of the attention and interest of others--the effect can be devastating. Charlie adds that those of us in a more fortunate position can't possibily understand what Willie went through and certainly "dare not" pass judgement, let alone negative criticism, on Willie.
It's pretty strong stuff, and Linda has to follow it. She doesn't, and she can't. But she nevertheless is given the last utterances in the play, and they move the listener even in their incoherence. It would be easy to blame Linda for "cooperating" with Willie's illusion, or to pity her for never really knowing what hit her and her family. But if we can suspend some of the currently popular ideologies--about marriage, gender relations, parasitic domestic arrangements--and simply listen to Linda's voice, we hear the sound of someone in shock but also of a caring, compassionate, steadfast life-partner, not merely "standing by her man" but offering encouragement, support, and hope--and all this even after Willie's suicidal attempts. Even with this burden on her mind, she doesn't blow the whistle on Willie, turn to a shrink, or run out on him, and she's perfectly content to settle for far less than first place: she's already made it plainly clear to us that, though she knows Willy is far from a rock star, she takes pride in him for nothing more than paying off the mortgage. Like the servant in Tolstoy's "The Death of Ivan Ilych" who, simply by rubbing the feet of the dying protagonist, offers comfort far beyond the words of all who visit Ivan, Linda continually reminds us that she's "there"--and has been all along. She emerges as a strong contender for hero's honors--not merely as a loyal, masochistic mate but a genuine "servant"--like those we read about in Chaucer, Mallory, and tales written in a pre-American genteel time.
Summary of Death of a Salesman (Viking Critical Library)Willy Loman, the protagonist of Death of a Salesman, has spent his life following the American way, living out his belief in salesmanship as a way to reinvent himself. But somehow the riches and respect he covets have eluded him. At age 63, he searches for the moment his life took a wrong turn, the moment of betrayal that undermined his relationship with his wife and destroyed his relationship with Biff, the son in whom he invested his faith. Willy lives in a fragile world of elaborate excuses and daydreams, conflating past and present in a desperate attempt to make sense of himself and of a world that once promised so much. Since it was first performed in 1949, Arthur Miller's Pulitzer Prize-winning drama about the tragic shortcomings of an American dreamer has been recognized as a milestone of the theater. This Viking Critical Library edition of Death of a Salesman contains the complete text of the play, typescript facsimiles, and extensive critical and contextual material including: - Conflicting reviews about its opening night by Robert Garland, Harold Clurman, Eleanor Clark, and others
- Five articles by Miller on his play, including "Tragedy and the Common Man" and his "Introduction to Collected Plays"
- Critical essays by John Gassner, Ivor Brown, Joseph A. Hynes, and others
- General essays on Miller by William Weigand, Allan Seager, and others
- Analogous works by Eudora Welty, Walter D. Moody, Tennessee Williams, and Irwin Shaw
- The stage designer's account, presented in selections from Designing for the Theatre by Jo Mielziner
- An in-depth introduction by the editor, a chronology, a list of topics for discussion and papers, and a bibliography
|
 |