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Eugene O'Neill's Last Plays: Separating Art from Autobiography

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In comparing the "facts of the plays with the documentary evidence of the historical record, [this work] offers what is really a first study in biography based on knowledge of what in a work are the fact's of [O'Neill's] life and what are not." As psychologically incisive and true-to-life as O'Neill's last plays were, with their richly-drawn, identifiable, flawed, characters, they were particularly susceptible to biographical interpretations and such points of view by critics and even scholars. Among the mixed biographical and literary topics concerning this major American playwright Alexander brings clarity to from poring over material lately uncovered and rereadings of some known material are O'Neill's suicide attempt, his illness of tuberculosis, and his relationship with his parents. Alexander, professor emerita of English at CUNY, gives only passing conjecture on why such "myths" arose in the first place or persisted on the basis of nonexistent, scant, or clearly contradictory evidence. The reasons for such errors or misguided interpretations of O'Neill's late plays--no doubt growing out of an awe and mystique surrounding O'Neill as a deeply impressive, preternaturally gifted playwright--is an absorbing topic on its own--but beyond the interest or scope of Alexander here. The author focuses on how such errors came to be, and on clearing them up. In this, she brings much clarity, and sometimes definitiveness, to mistakenly held views and some outright fictions of both O'Neill's life and his late plays, all without lowering this playwright's stature.