Today October 17 2015 is 100th Birth Anniversary of Arthur Miller
(Most of the the following is from my earlier posts on this blog)
Artist: George Booth, The New Yorker, December 2 1972
(Most of the the following is from my earlier posts on this blog)
J. M. Tyree:
“What vexed Miller were the stories Americans have told
themselves about the power of positive thinking, the instant money and
spiritual purity that are sure to follow from unfettered entrepreneurship, the
decency of the profit motive, the goodness of the national past, and, when all
else fails, the possibility of escape and reinvention in the West. This land is
your land: Henry David Thoreau crosses uneasily with Norman Rockwell; the
tenets of Ayn Rand crash into the gospel of Jesus Christ; the Book of Mormon
reads strangely in parallel with the Bill of Rights; Huckleberry Finn lights
out for the territory but never becomes the Marlboro Man, exactly. Above all,
Miller responded to a culture that cherished a sanctimonious and noxiously
sentimental vision of family life as a beacon of health and wealth.”
ALGIS VALIUNAS:
“The most famous suicide in American theater is that of
Willy Loman, in Death of a Salesman (1949). Exhausted by years on the road, his
mind going, Willy is suitably beaten down by heartless business forces, so that
his killing himself is at once supremely pitiable and supremely noble: He fakes
a car accident so his widow and sons can collect the $20,000 insurance payout.
Willy's wife admonishes her sons, who despise their father's doddering and
weakness and failure, "But he's a human being, and a terrible thing is
happening to him. So attention must be paid." Miller's attention is fixed
on larger concerns than the fate of one man. For him, the universal tragedy of
American life is the fundamental capitalist insistence that business is
business. That's exactly what Willy's boss says as he's firing him; Willy
agrees reflexively, but then goes on to qualify and plead. The truth is
incontestable nevertheless: If you can't make a killing you get murdered.”
Arthur MILLER:
(INTERVIEWER People often come out
of Death of a Salesman crying. If you said to them that you’d watched them
laughing while in their seats, they would deny it. And yet humor is part of it,
isn’t it?)
"The whole thing is very sad, but the fact is I did a
lot of laughing when I was writing the play because some of Willy Loman’s ideas
are so absurd and self-contradictory that you have to laugh about them; the
audience in fact does, but they don’t remember it, thank God! If they
remembered it, they wouldn’t be as moved as they are. Basically, it’s the
laughter of recognition, I believe."
Artist: George Booth, The New Yorker, December 2 1972
