Titlebook: American Drama; Clive Bloom Book 1995 Lumiere Co-operative Press Ltd 1995 America.Arthur Miller.history of literature

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Tennessee Williams,, or does not dare, to write of the gay experience directly. We can arrive at a reading of the plays based on this premise which, nevertheless, does not purport either to invalidate other approaches or to claim comprehensiveness, but which should enlarge our understanding of the texts by exploring p

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Imamu Amiri Baraka,war America. The speaker is Clay, hitherto a model of black middle-class composure, who finally turns in rage upon Lula, his undulant white temptress, as they travel the subway ‘in the flying underbelly of the city’. His belief that ‘Murder. Just murder! Would make us all sane’ bespeaks an avenging

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Neil Simon,r of history. Hence, Jewish-American writers have returned to Europe for myths of origin, have gone back to Depression America to confront the comfortable present with the radical past, have gone back further still to immigrant experience to create a sense of intimate connection between present and

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Sam Shepard,y of family relationships, people are trying to survive. And there aren’t any sanctioned rules. People are trying to do the best they can with what they have within themselves, within their heredity and from their experience of life.

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Marsha Norman,k which won the Pulitzer Prize in 1983 as well as a host of other prizes.. This play marked her out as one of the most promising playwrights of her generation. Norman had, however, been writing since the mid 1970s and had been the recipient of a number of other awards for her first play, ., première

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Tennessee Williams,d Laura Wingfield’s lameness, and the figure of the unicorn in her glass menagerie, as metaphors for homosexuality. I have argued not that Williams has consciously done this (though of course he may have) but that readers aware of Williams’s homosexuality will recognise that the metaphors do indeed

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