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Eugene O'Neill : Complete Plays 1932-1943 (Library of America)

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This collection of work gives the reader O'Neill, America's greatest playwright, at his most powerful. The two earlier collections are likewise great, but this third one contains his two strongest works: "The Iceman Cometh" and "Long Day's Journey Into Night."

In "The Iceman Cometh," O'Neill creates a world of happy derelicts. They spend their nights and days in Harry Hope's saloon, living through today by drinking and believing in the "pipe dreams" of tomorrow. That is until Hickey comes to town. He forces them, for the first time, to look honestly at their lives. This dose of reality has devestating affects on the patrons of Harry's.

Also included is O'Neill's masterpiece, "Long Day's Journey Into Night." This play, not published or produced in his lifetime, painfully tells the story of his own dysfunctional family. The play's action is one calendar day, but O'Neill, through dialogue, takes the reader back to the origins of their problems. The emotions displayed, which include guilt, envy, pain, cynicism, and love, tears the family apart, while strangely holding them together. Even though the emotions run high, O'Neill does it without employing sentimentality. He is honest without becoming melodramatic. A rare accomplish in literature. A more emotionally rendering work would be hard to find.

These two works are not the only jems the collection contains. "A Moon for the Misbegotten," now running on Broadway, continues the story of his brother, Jamie, who appears in "Long Day's Journey . . ." "Ah, Wilderness!" is a fine coming of age story.

The others also bare the mark of O'Neill's genius. The stories, set in the first half of the twentieth century, are as true today as they were when written. They've persevered and have proven timeless. His characters live with the reader long after the work is finished. And many are well worth a second visit.

I enjoy this collection of plays from Mr Eugene O'Neill (1888-1953). He is considered the first dramatist from the US and is also the first to be awarded the Nobel Prize for Literature. First, I must write that this edition from the LIBRARY OF AMERICA is beautiful. It has a sewn binding, flexible yet strong binding boards covered with a closely woven, rayon cloth and a ribbon bookmark attached to the spine. This volume covers the period 1932-43, marking Mr O'Neill's most well-known work. My favourites are A LONG DAY'S JOURNEY INTO NIGHT and THE ICEMAN COMETH. I also enjoy the the Irish flavour of A TOUCH OF the POET. ALDJIN is auto-biographical, as is also A MOON FOR THE MISBEGOTTEN. ALDJIN benefits from an eye-witness perspective which makes the characters extremely poignant. I feel an eery shiver as I read the drama, knowing the playwright's life. Like his character Edmund, Mr O'Neill left Princeton after his first year; went to sea, searched for gold in South America and haunted the waterfront bars in Buenos Aires, Liverpool and New York. He drank heavily. The other characters reflect his life also. His father was a successful actor who played but one role, the Count of Monte Cristo, and never became a more serious actor. His mother used morphine and his older brother was an alchoholic. All three died between 1920-23. This play is such a vivid "photograph" it sometimes is painfull for me to read, but at the same time a great reward. If you are interested in dramatists from the US, or in gritty, realistic plays about characters on the the margins of society, this collection will be interesting to you.

O'Neill's brilliance and his place as America's foremost playwright locks into place, if it hadn't already, with this third volume of plays from the last decade of his writing life. Three of the plays presented here (The Iceman Cometh, Long Day's Journey Into Night, and A Moon for the Misbegotten) are utter masterpieces, works of art so powerful that they rank among the great accomplishments in English letters. Two other plays (Ah, Wilderness! and A Touch of the Poet) are great plays. A third (More Stately Mansions) is the one great failure of O'Neill's career, I believe, an endless epic back-and-forth set of soulful arguments that could have been (and sometimes was) better played in an infinitely shorter play. But it's my belief that no American playwright has ever come within miles of capturing O'Neill's ability to see the pain at the heart of human beings and to encapsulate so perfectly the pity which the lost heart yearns for and requires.

Long Day's Journey Into Night is O'Neill's autobiographical dichotomization of his dysfunctional family. I also happens to be one of the best plays ever written. One would not expect the author to be impartial toward his past or his family: he is either strongly libelous or fondly empathetic. What O'Neill accomplishes is a Golden Mean, it is written with so much integrity, so much compasion and with so much devastating truth that it becomes one of the most emotionally- challenging literary works one is ever likely to read. The four Tyrones' characterization is as broadly affecting as life itself: Jamie, a cynic ruined by dissipation; Mary, one of the best tragic heroines ever created; Edmund, O'Neill's tortured alter-ego; James, an epitomy of the Irish-American presence in US and their blind faith and peculiraly ambivalent optimism. The play is in four acts and it is brillintly crafted; it has all the urgency of a social outcry and all the emotional strength of an epic. O'Neill wrote," God grant me sympathy for the haunted Tyrones." He does sympathize with these people, of course, but he is also soberly realistic: his heroes will forever remain thwarted by the vicious circle of their multi-faceted inadequacy.