By Eugene O'Neill, Edward Albee
Almost immediately after the debut of Exorcism in 1920, Eugene O'Neill by surprise canceled creation and ordered all extant copies of the drama destroyed. For over 90 years, it was once believed that the play used to be irrevocably misplaced, till it was once lately stumbled on that O'Neill's moment spouse had actually retained a replica, which she later gave to the prolific screenwriter and manufacturer Philip Yordan. In early 2011, Yordan's widow found the typescript of Exorcism—complete with edits in O'Neill's personal hand—in her past due husband's tremendous trove of papers. the invention and book of Exorcism, a comparatively early play within the O'Neill corpus, furthers our wisdom of O'Neill's dramatic improvement and divulges a pivotal aspect within the occupation of this nice American playwright.
Revolving round a suicide try out, Exorcism attracts on a depressing incident in O'Neill's personal existence. This defining occasion resulted in his first severe efforts to write down. Exorcism monitors early examples of O'Neill's extraordinary talents of shooting deeply own human drama, and it explores significant themes—mourning and melancholia, dependancy and sobriety, tensions among fathers and sons—that might permeate his later paintings. in keeping with Yale University's Beinecke infrequent publication and Manuscript Library curator Louise Bernard, who obtained the play from a brand new York bookseller, "Exorcism may be learn as a preparatory caricature that resonates powerfully with Long Day's trip into Night, one who brings the O'Neill kin drama complete circle in methods right away intimate and grandly conceived.”
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Presently after the debut of Exorcism in 1920, Eugene O'Neill all of sudden canceled creation and ordered all extant copies of the drama destroyed. For over 90 years, it was once believed that the play used to be irrevocably misplaced, until eventually it used to be lately found that O'Neill's moment spouse had in reality retained a duplicate, which she later gave to the prolific screenwriter and manufacturer Philip Yordan.
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In the NY hotel rm (they turn up again in Angst)—what good’s writing? ’’ Forgotten underlined three times, as if forgotten by three forgettings. To which add today the forgetting that followed upon these notes, interrupted for the time being by the finding of the ................. 16582$ $CH3 10-11-07 15:26:56 PS PAGE 35 post-it. Is this the fourth forgetting? How many forgettings does it take to forget, then to forget, then to forget about the forgetting? I remember the forgotten roses very well, backs straight him sprawled on the couch in room 91 them erect upright legs bunched together in the hotel vase saying we’ve been waiting for you red long-stemmed, showy, stout, vigorous roses, in the room I don’t see them as they are but for what they meant.
It was only many years later I noticed the Detail that gives us access to ‘‘The Metamorphosis’’ (‘‘Die Verwandlung’’) though it is perfectly obvious in the entryway where it vegetates and stinks, the eternal cadaver posted as a warning to the reader. But as it doesn’t call out or moan or squeak the avid visitor sweeps indifferently past the prophetic vignette and throws himself into the front room from which he doesn’t emerge alive. If only you’d read the warning Nothing wouldn’t have happened.
I wept. I should have taken out the lens. 27 the eye-patch ................. 16582$ $CH2 10-11-07 15:26:55 PS PAGE 27 * * * This whole story turns on an eye, now one of the eyes of one character, now one of the eyes of the other. This comment is totally extraneous to the story’s events. It belongs to the Tale. To the Tale, that is, version 2000. Before this date a thin sheet of soundproof glass slipped itself between the story’s events and the Tale. So long as I wore a contact lens (that is, one lens) I couldn’t tell.