Death of salesman : certain private conversations in two acts and requiem

Miller Arthur 1915-2005

ISBN 10: 0140181555 / ISBN 13: 9780140181555

Published by Penguin Books, 1961

About this Item

Mark of ownership. Discolouration. 112 pages ; 18 cm. Drama in English,American writers, 1900-1945 - Texts Miller, Arthur, 1915-2005. Death of a salesman. Text English This play tells the story of Willy Loman an ageing salesman who is a failure in both his business and private life. Fired by his firm ignored by his children his humiliation ends in suicide. Seller Inventory # 10105128

Bibliographic Details

Title: Death of salesman : certain private ...

Publisher: Penguin Books

Publication Date: 1961

Binding: Paperback

Condition: Good

About this title

Synopsis:

Death of a Salesman (Penguin Twentieth Century Classics)

Review:

Arthur Miller's 1949 Death of a Salesman has sold 11 million copies, and Willy Loman didn't make all those sales on a smile and a shoeshine. This play is the genuine article--it's got the goods on the human condition, all packed into a day in the life of one self-deluded, self-promoting, self-defeating soul. It's a sturdy bridge between kitchen-sink realism and spectral abstraction, the facts of particular hard times and universal themes. As Christopher Bigsby's mildly interesting afterword in this 50th-anniversary edition points out (as does Miller in his memoir, Timebends), Willy is closely based on the playwright's sad, absurd salesman uncle, Manny. But of course Miller made Manny into Everyman, and gave him the name of the crime commissioner, Lohmann, in Fritz Lang's angst-ridden 1932 Nazi parable, The Testament of Dr. Mabuse.

The tragedy of Loman the all--American dreamer and loser--works eternally, on the page as on the stage. A lot of plays made history around 1949, but none have stepped out of history into the classic canon as Salesman has. Great as it was, Tennessee Williams' work can't be revived as vividly as this play still is, all over the world. (This edition has edifying pictures of Lee J. Cobb's 1949 and Brian Dennehy's 1999 performances.) It connects Aristotle, The Great Gatsby, On the Waterfront, David Mamet, and the archetypal American movie antihero. It even transcends its author's tragic flaw of pious preachiness (which undoes his snoozy The Crucible, unfortunately his most-produced play).

No doubt you've seen Willy Loman's story at least once. It's still worth reading.--Tim Appelo, Amazon.com