The Real Arthur Miller

During his lifetime, US playwright Arthur Miller was affronted in numerous ways by what he experienced, either personally, or vicariously through the experiences of others. For example: By the way his immigrant family had come to financial grief in the Great Depression (1929 to the late 1930s), through no fault of their own. By the anti-Semitism that existed in the USA and elsewhere in the 1930s, culminating in the Nazi Holocaust in which so many people of his own ethnic group, the Jews, together with millions of other innocents, perished. By the way he and others, including many connected with the arts, were persecuted for alleged communist sympathies in the McCarthy ‘witch-hunts’ of the late 1940s and 1950s in the USA. By the way that atheism, to which he himself subscribed, was considered to be subversive and unpatriotic. By the way that the ‘American Dream’ was generally portrayed as something to which everybody could aspire: and yet, by embracing the concept of the American Dream, most people were generally setting themselves up to fail. Despite his disillusionment with life, Miller strove to illuminate a path to a better way and in doing so, offered hope to the inhabitants of the flawed and troubled world in which he found himself, not just in the USA but also elsewhere.

The 1956 wedding of Marilyn Monroe and Arthur Miller surprised the world. The Genius and the Goddess presents an intimate portrait of the prelude to and ultimate tragedy of their short marriage. Distinguished biographer Jeffrey Meyers skillfully explores why they married, what sustained them for five years, and what ultimately destroyed their marriage and her life. The greatest American playwright of the twentieth century and the most popular American actress both complemented and wounded one another. Marilyn craved attention and success but became dependent on drugs, alcohol, and sexual adventures. Miller experienced creative agony with her. Their marriage coincided with the creative peak of her career, yet private and public conflict caused both of them great anguish. Meyers has crafted a richly nuanced dual biography based on his quarter-century friendship with Miller, interviews with major players of stage and screen during the postwar Hollywood era, and extensive archival research. He describes their secret courtship. He also reveals new information about the effect of the HUAC anti-Communist witch-hunts on Miller and his friendship with Elia Kazan. The fascinating cast of characters includes Marilyn's co-stars Sir Laurence Olivier, Yves Montand, Montgomery Clift, and Clark Gab≤ her leading directors John Huston, Billy Wilder, and George Cuk∨ and her literary friends Dame Edith Sitwell, Isak Dinesen, Saul Bellow, and Vladimir Nabokov. Meyers offers the most in-depth account of the making and meaning of The Misfits. Written by Miller for Monroe, this now-classic film was a personal disaster. But Marilyn remained Miller's tragic muse and her character, exalted and tormented, lived on for the next forty years in his work.

During his lifetime, US playwright Arthur Miller was affronted in numerous ways by what he experienced, either personally, or vicariously through the experiences of others. For example: By the way his immigrant family had come to financial grief in the Great Depression (1929 to the late 1930s), through no fault of their own. By the anti-Semitism that existed in the USA and elsewhere in the 1930s, culminating in the Nazi Holocaust in which so many people of his own ethnic group, the Jews, together with millions of other innocents, perished. By the way he and others, including many connected with the arts, were persecuted for alleged communist sympathies in the McCarthy ‘witch-hunts’ of the late 1940s and 1950s in the USA. By the way that atheism, to which he himself subscribed, was considered to be subversive and unpatriotic. By the way that the ‘American Dream’ was generally portrayed as something to which everybody could aspire: and yet, by embracing the concept of the American Dream, most people were generally setting themselves up to fail. Despite his disillusionment with life, Miller strove to illuminate a path to a better way and in doing so, offered hope to the inhabitants of the flawed and troubled world in which he found himself, not just in the USA but also elsewhere.

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

Tom O'Toole, a private detective is hired by Angela Crispini, to clear the name of Felix Daniels, a local boy convicted of murdering his uncle, despite the fact that the whole town knows the identity of the real killer.

This is the long-awaited biography of one of the twentieth century's greatest playwrights, Arthur Miller, whose postwar decade of work earned him international critical and popular acclaim. Christopher Bigsby's gripping, meticulously researched biography, based on boxes of papers made available to him before Miller's death, examines Miller's refusal to name names before the notorious House Un-American Activities Committee, offers new insights into his marriage to Marilyn Monroe, and sheds new light on how their relationship informed Miller's subsequent great plays. Book jacket.

The definitive memoir of Arthur Miller—the famous playwright of The Crucible, All My Sons, Death of a Salesman, A View from the Bridge, and other plays—Timebends reveals Miller’s incredible trajectory as a man and a writer. Born in 1915, Miller grew up in Harlem in the 1920s and 1930s, developed leftist political convictions during the Great Depression, achieved moral victory against McCarthyism in the 1950s, and became president of PEN International near the end of his life, fighting for writers’ freedom of expression. Along the way, his prolific output established him as one of the greatest writers of the twentieth century—he wrote twenty-two plays, various screenplays, short stories, and essays, and won the Pulitzer Prize in 1949 for Death of a Salesmanand the New York Drama Critics Circle Award in 1947 for All My Sons. Miller also wrote the screenplay for The Misfits, Marilyn Monroe’s final film. This memoir also reveals the incredible host of notables that populated his life, including Marilyn Monroe, Elia Kazan, Clark Gable, Sir Laurence Olivier, John F. Kennedy, and Mikhail Gorbachev. Leaving behind a formidable reputation in the worlds of theater, cinema, and politics, Arthur Miller died in 2005 but his memoir continues his legacy.

Discover the cinema-novelization of Arthur Miller's 1961 American western film, The Misfits, which was directed by John Huston and went on to be one of the most popular cult films of the 1960s.A story of four lost souls - the beautiful Roslyn who has never belonged to anyone or anything, and three other misfits who roam the open land existing on the little money made from riding in rodeos and rounding up wild horses - who meet in Reno to discover that freedom has its price, and the heart its rules.The Misfits starred Clark Gable, Marilyn Monroe and Montgomery Cliff. Based on a short story of the same name, originally published in 1957, this cinema novel of the film includes an introduction by Arthur Miller himself.

THE STORY: As Howard Taubman outlines the play: At the outset Quentin emerges, moves forward and seats himself on the edge of the stage and begins to talk, like a man confiding in a friend. In the background are key figures in his life, and they m