Long Day's Journey into Night (School & Library Binding)

by Eugene O'Neill (Author), Harold Bloom (Foreword)

Editorial Reviews

Amazon.com Review
This work is interesting enough for its history. Completed in 1940, Long Day's Journey Into Night is an autobiographical play Eugene O'Neill wrote that--because of the highly personal writing about his family--was not to be released until 25 years after his death, which occurred in 1953. But since O'Neill's immediate family had died in the early 1920s, his wife allowed publication of the play in 1956. Besides the history alone, the play is fascinating in its own right. It tells of the "Tyrones"--a fictional name for what is clearly the O'Neills. Theirs is not a happy tale: The youngest son (Edmond) is sent to a sanitarium to recover from tuberculosis; he despises his father for sending him; his mother is wrecked by narcotics; and his older brother by drink. In real-life these factors conspired to turn O'Neill into who he was--a tormented individual and a brilliant playwright. --This text refers to an out of print or unavailable edition of this title.

Review
Drama in four acts by Eugene O'neill, written 1939-41 and produced and published, posthumously, in 1956. The play, which is considered an American masterpiece, was awarded a Pulitzer Prize in 1957. O'Neill's autobiographical play is a shattering depiction of a day in the dreary life of a couple and their two sons. James Tyrone, a semiretired actor, is vain and miserly; his wife Mary feels worthless and retreats into a morphine-induced haze. Jamie, their older son, is a bitter alcoholic. James refuses to acknowledge the illness of his consumptive younger son, Edmund. As Mary sinks into hallucination and madness, father and sons confront each other in searing scenes that reveal their hidden motives and interdependence. O'Neill wrote A Moon for the Misbegotten (1952) as a sequel, charting the subsequent life of Jamie Tyrone. -- The Merriam-Webster Encyclopedia of Literature --This text refers to an out of print or unavailable edition of this title.

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Product Details

• School & Library Binding: 179 pages
• Publisher: San Val; 2 edition (December 2003)
• Language: English
• ISBN-10: 0613583310
• ISBN-13: 978-0613583312
• Product Dimensions: 7.6 x 4.8 x 0.8 inches
• Shipping Weight: 8 ounces (View shipping rates and policies)
• Average Customer Review: 4.4 out of 5 stars See all reviews (66 customer reviews)
• Amazon.com Sales Rank: #3,125,166 in Books (See Bestsellers in Books)

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Customer Reviews

Most Helpful Customer Reviews

48 of 48 people found the following review helpful:

5.0 out of 5 stars Pain of Humanity: Perhaps the Best 20th Century Drama, March 19, 2004

By	Gary F. Taylor "GFT" (Biloxi, MS USA) - See all my reviews (TOP 50 REVIEWER)    (REAL NAME)

This review is from: Long Day's Journey into Night (Paperback)

The great bulk of Eugene O'Neill's work was done between about 1914 and 1933, a period which saw him win Pulitzer Prizes for Beyond The Horizon, Anna Christie, and Strange Interlude as well as create The Emperor Jones, The Hairy Ape, Desire Under the Elms, The Great God Brown, and Mourning Becomes Electra. But around 1933 O'Neill--who struggled against physical ailments, alcoholism, and a host of personal demons--fell silent.

Although O'Neill was awarded the Nobel Prize for Literature in 1936, he would remain silent for some ten years, leaving most to believe he had written himself out, was burned out, that his career was over. But in spite of tremendous personal issues, O'Neill continued to write in private, and during this period he would generate a string of powerful plays, many of which would not be released for performance until after his death in 1953. The legendary Long Day's Journey Into Night, closely based on his own family life, was written in the early 1940s. It was first performed in 1956--some three years after his death--at which time it too won the Pulitzer Prize.

The play presents the story of the Tyrone family. James Tyrone is a famous stage actor, now aging; his wife Mary is a delicately beautiful but sadly worn woman named Mary. Their two sons are studies in contrast: Jamie, in his late 30s, is wild--fond of wine, women, and song--and seen as a bad influence on younger Edmund, who is physically frail but intellectually sharp. The action takes place at their summer home, and begins in the morning; the family seems happy enough--but clearly there is something we do not know, something working under the surface that gives an unnatural quality to their interaction.

Over the four acts and next four hours the morning passes into afternoon, the afternoon into night. And we will learn the truth: the history of money grubbing, the alcoholism, the drugs, the personal failures, the seemingly endless cycle of self-defeating, self-destructive behavior in which the four are locked beyond hope of redemption. And as it progresses the play gathers itself into an almost unendurable scream of agony, a scream of truly cosmic proportions.

Why, you might ask, would someone wish to read--much less sit through--such a play? A work so painful that it often becomes difficult to continue reading or to look at the stage? I myself asked this question when I first encountered it. Over the years I have done quite a bit of theatre. In the early 1980s I played the role of Edmund; in the late 1990s I played the role of Jamie. On both occasions I found the play horrifically painful to perform. On both occasions I wondered if such a painful play could find an audience in small-town America. On both occasions Long Day's Journey Into Night sold out and not a person left the theatre before each performance ended.

Because, I think, the play taps into something that is universal but which is extremely difficult to express in simple terms. As O'Neill might say himself, it has a touch of the poet--but of a failed poet. Somehow, in some unique way, it speaks to the self-knowledge we all have of the hidden dreams that never came true, the little accommodations, the big and small failures that have stung us and changed us and over time made us--for better or worse--the beings that we are. It has humanity. It makes us see our own humanity. It makes us acknowledge the humanity of those around us.

Many, myself among them, regard this as O'Neill's finest play--and considering the great power that many of his works have, that is saying a great deal. It is also in some respects one of his most accessible plays: shorn of the experimentalism to which O'Neill was frequently drawn and beautifully simple, beautifully direct, even those unaccustomed to reading playscripts will find it a rapid and powerful read. For this reason it is really the only O'Neill script I recommend to casual readers. And I recommend it very, very strongly indeed. A great drama, both on the page and on the stage.

GFT, Amazon Reviewer

24 of 24 people found the following review helpful:

5.0 out of 5 stars O'Neill at his best, September 2, 2000

By	"mikeu3" (Cambridge, MA USA) - See all my reviews

This review is from: Long Day's Journey into Night (Paperback)

Long Day's Journey into Night is the play in which Eugene O'Neill, as he says in the dedication, had to "face [his] dead at last" by writing about the tragic dysfunctions of James, Mary, Jamie, and Edmund Tyrone, characters based respectively on O'Neill's father, mother, and brother, and O'Neill himself. It is set entirely at the O'Neill residence and takes place over the course of the day on which the family doctor confirms that 23 year-old Edmund has tuberculosis and must go to a sanatorium. There is relatively little action in the play aside from that; most of the dialogue relates to the other members of the Tyrone family facing the various problems that haunt them every day of their lives: Mary is addicted to morphine; Jamie is an alcoholic and at 33 seems unlikely to amount to anything; and James also has an alcohol problem but more importantly is still bitter about his childhood, which was cut short when he was obliged to go to work at a machine shop at the age of 10 because of the departure of his father.

The whole Tyrone family is in a state of despair, and it's hard to think of an author better at capturing despair than O'Neill (in no small part, one suspects, because he came of age in the sort of environment depicted in this play). O'Neill was certainly bitter about his past, but, importantly, he doesn't lose perspective. Although the way the Tyrones treat each other ranges from neutral to downright cruel, O'Neill does a splendid job of balancing this against the fact that they all love each other deeply and feel very unnerved whenever they realize that they're treating each other unfairly. Despite all the problems he faced as a young adult, O'Neill always viewed his family with a good deal of love and reverence, and that comes through in the play. As Mary puts it, "None of us can help the things life has done to us. They're done before you realize it, and once they're done they make you do other things until at last everything comes between you and what you'd like to be, and you've lost your true self forever." The tragedy of Long Day's Journey into Night lies in the fact that these great individuals have lost their true selves due to the various demons that haunt their lives.

Some of O'Neill's works could reasonably be criticized for featuring relatively one-dimensional characters and formulaic plots. In the case of Long Day's Journey, though, because O'Neill was able to rely on his own experiences, all four main characters are exceptionally deep and balanced, and the plot is distinctly unpredictable. Though I've very much enjoyed all the O'Neill plays I've read, it seems that in Long Day's Journey he finally put together all his talents and produced his crowning achievement.

21 of 23 people found the following review helpful:

5.0 out of 5 stars O Neal is ruthlessly honest in this sordid, beautiful play, August 12, 1999

By A Customer

This review is from: Long Day's Journey into Night (Paperback)

I read the play when I was 19. I stumbled upon it on a dime rack at the library. One day, I was moving and had some time on my hands until the movers arrived to haul away my stuff. I pulled out my copy and was never the same again. I sat on the floor and read from the late morning to dusk--when the light was no longer sufficient to read by. I hadn't noticed that my shoulder had begun to ache or that my throat was screaming for water, I was absorbed in the play as if I was receiving a vision. Anyone who claims that the play is not well-written doesn't understand literature, nor have they seen the staged production. (I'd highly recommend the movie with Katherine Hepburn). The honesty of the playwright will put you through an emotional ringer that is difficult to detach yourself from long after the reading is done. The fog horn, the deception, the cutting words of the players all haunt your dreams. This is a masterpiece.