The Pulitzer Prize-winning tragedy of a salesman’s deferred American dream Ever since it was first performed in 1949, Death of a Salesman has been recognized as a milestone of the American theater. In the person of Willy Loman, the aging, failing salesman who makes his living riding on a smile and a shoeshine, Arthur Miller redefined the tragic hero as a man whose dreams are at once insupportably vast and dangerously insubstantial. He has given us a figure whose name has become a symbol for a kind of majestic grandiosity—and a play that compresses epic extremes of humor and anguish, promise and loss, between the four walls of an American living room. "By common consent, this is one of the finest dramas in the whole range of the American theater." —Brooks Atkinson, The New York Times "So simple, central, and terrible that the run of playwrights would neither care nor dare to attempt it." —Time
Literature Review from the year 2006 in the subject English Language and Literature Studies - Literature, grade: 2,0, Carl von Ossietzky University of Oldenburg, course: Einführung in die englische Literatur, language: English, abstract: Analysis of the passage in the text (Penguin: page 25, “Willy: Bernard is not well liked, is he?” – page 27, “Willy: “What do we owe?”) This passage from the first act of Arthur Miller’s drama “Death of a Salesman” displays one of the numerous flashbacks of Willy Loman, who represents the main character and moreover a complex round character. With this reflection of the past the reader or spectator is able to share in Willy’s and his former family life; a family life that is harmonious, easy, joyful or simply all in all perfect. For Willy this ideal world is very important as ideals are in general. He places special value on a good image, which can be seen in the very first question of the passage “Bernard is not well liked, is he?” , which he addresses to his sons Biff and Happy. With the simile “you’re both built like Adonoises”1, which Willy is thankful for and moreover very proud of, and the statement that his sons “are going to be five times ahead of [Bernard]”1 because of their appearance, it becomes clear that he is of the opinion that attractiveness which results in “personal interest”1 and popularity is the only way to become big in business – which is pretty unrealistic already because good grades are necessary to enrol in college, and contents taught in college are in the majority of cases necessary to become big in business. It is furthermore visible that Willy builds his hopes on Biff and Happy. For them he is a role model and he seems really confident of being a good one: “Be liked and you will never want. You take me, for instance. I never have to wait in line [...].” He is also sure of the fact that he is well known and welcome everywhere he goes which is indicated by the following statement “’Willy Loman is here!’ That’s all they have to know [...].” Another pleasure in Willy’s life is to share his work with his sons by telling them stories about it. He then tends to exaggerate, as it is seen in his self praise-hyperbole “knocked ’em cold in Providence, slaughtered ’em in Boston.”3, in order to bring his business success near to them.
Arthur Miller's Death of a Salesman, the third volume in the Dialogue series, covers six major and controversial topics dealing with Miller's classic play. The topics include feminism and the role of women in the drama, the American Dream, business and capitalism, the significance of technology, the legacy that Willy leaves to Biff, and Miller's use of symbolism. The authors of the essays include prominent Arthur Miller scholars such as Terry Otten and the late Steven Centola as well as young, emerging scholars. Some of the essays, particularly the ones written by the emerging scholars, tend to employ literary theory while the ones by the established scholars tend to illustrate the strengths of traditional criticism by interpreting the text closely. It is fascinating to see how scholars at different stages of their academic careers approach a given topic from distinct perspectives and sometimes diverse methodologies. The essays offer insightful and provocative readings of Death of a Salesman in a collection that will prove quite useful to scholars and students of Miller's most famous play.
Every day, in some part of the world, an Arthur Miller play is performed.In the nearly 60 years since its first production, the Pulitzer Prizewinning Death of a Salesman has been become a classic, a staple of school anthologies of American literature and of acting companies' repertoires. It has received worldwide productions, whether as a study of parent-child relationships, as in its landmark 1976 production directed by Miller in Beijing, or as a critique of Western capitalism and has been filmed once for television and twice for movies.
ABOUT THE BOOK “A diamond is hard and rough to the touch.” - Ben Loman, Death of a Salesman Why is Arthur Miller’s Death of a Salesman still relevant today? Perhaps this simple question begs the question “IS it still relevant?” To any who ask this, the simple answer is an admonition to read the play. Or see it staged. Or watch any of the myriad cinematic adaptations. (Dustin Hoffman’s portrayal of Willy Loman is arguably a gold standard performance. There are many fine renditions of the role, but the best is surely the one conjured in a careful reader’s mind.) Before we delve too deeply into the lasting meaning of this play and the still poignant struggles of its characters, let us discuss something held so directly before our faces that we may well look through it and never recognize its paramount importance: the play’s name. Arthur Miller titled his play -- his first real success -- not simply Death of a Salesman but added the sub-title Certain private conversations in two acts and a requiem. Indeed, death hangs heavy here. The title makes it clear and the word requiem makes it tangible. But let us look, briefly, at the title in surgical detail. Why not “The” Death of a Salesman? Or why not Death of THE salesman? These simple words, these direct object identifiers, would change Willy Loman from the everyman to the man. The genius of Arthur Miller is that Loman manages to be both an everyman and a “real” person -- a character we believe existed, with all his faults, his ticks, his occasional smiles, and his undeniable, unbearable descent. This is the story of one man and his family as his life circles the drain, the lives of all those who touch his -- an ever smaller circle of people -- following not far behind. It is a story of neurosis and denial, of failure and suffering and of a falsified, gilded past in which the broken characters try to find happiness and solace. Well, that sounds rather bleak. So why is this such a resonant, potent, and beloved play? Perhaps because it tells a story we all know, and tells it so well. Perhaps it is because as we watch the ever descending arc that is the lives of Willy, Linda, Biff, and Happy Loman, we are made to whisper under our breath “Yes... and there but for the grace of god go I.” Or maybe it is simply because Arthur Miller was such a fine playwright that he could likely have made a three act about pipe fitting enthralling to all. We shall see as we head deeper into the meat of the play; farther down into the minds -- and psychoses -- of the players. But first, who wrought this jewel? “And I looked at the pen and I thought, what the hell am I grabbing this for? EXCERPT FROM THE BOOK The curtain opens on a small house, several of its walls “removed” so we can see inside it. The lights gradually change to reveal that the house, once quaint and on a lovely spread of land, is now falling apart and is surrounded by tall, drab apartment buildings. The home’s decline mimics that of the head of household, Willy Loman, a man in his 60s and very, very tired. Loman enters late at night, carrying his heavy valises -- the tools of the trade of a salesman in the 1940s -- and shuffling his tired feet. He is greeted by his wife Linda, a kind, patient but sad woman. The couple talk at length and Willy reveals that he could not complete his trip, intended to take him from their home in New York up to Boston, and has sold nothing that day. He could not complete the trip because his tired mind kept wandering into memories of the past and he found the car drifting about the road, following his meandering thoughts. Loman even thinks he was driving a car the family has not owned for years. He is a man whose best years are past; whose very mind is fading... ...buy the book to continue reading!
A guide to reading "Death of a Salesman" with a critical and appreciative mind encouraging analysis of plot, style, form, and structure. Also includes background on the author's life and times, sample tests, term paper suggestions, and a reading list.
"I think this book is kind of malleable. I've never really wanted to put it away and be done with it forever -- the second I first 'finished' it, I wanted to dig back in and change everything around. So I'm looking forward to getting back into the text, and straightening and focusing and deleting. Most of all, I'm thrilled that Vintage will be letting me include all the cool chase scenes, previously censored." -- Dave Eggers The literary sensation of the year, a book that redefines both family and narrative for the twenty-first century. A Heartbreaking Work of Staggering Genius is the moving memoir of a college senior who, in the space of five weeks, loses both of his parents to cancer and inherits his seven-year-old brother. Here is an exhilarating debut that manages to be simultaneously hilarious and wildly inventive as well as a deeply heartfelt story of the love that holds a family together. A Heartbreaking Work of Staggering Genius is an instant classic that will be read in paperback for decades to come. PAPERBACK EDITION -- 15% MORE STAGGERING - Eggers has written 15,000 additional words for the Vintage Canada edition, including an entirely new appendix.
The original CliffsNotes study guides offer a look into critical elements and ideas within classic works of literature. The latest generation of titles in this series also feature glossaries and visual elements that complement the classic, familiar format. CliffsNotes on Death of a Salesman shares an intimate glimpse into the dreams and disappointments of an American family. Following the story of Willy Loman, an aging salesman who can't accept change within himself and society, this study guide provides a character list, character map, and character analyses to explore the personalities within Arthur Miller's masterful play. Other features that help you figure out this important work include Personal and career background of the author Introduction to and brief synopsis of the play Summaries and expert commentaries for each act and scene Essays that explore the play's major themes and the author's manipulation of time and space A review section that tests your knowledge and suggests essay topics and practice projects A Resource Center full of books, publications, films, and Internet resources Classic literature or modern-day treasure—you'll understand it all with expert information and insight from CliffsNotes study guides.
