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Long Days Journey into Night, by Eugene O'Neill
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Here on Compact Disc - a full-cast recording starring Robert Ryan, Stacy Keach, and Geraldine Fitzgerald - Eugene O'Neill's Long Day's Journey Into Night.
O'Neill's painful view of his own life forms the core of Long Day's Journey Into Night, one of the greatest of all American plays. The Tyrone family (father James, mother Mary, and sons Edmund and Jamie) of the play is a surrogate for O'Neill's own family and, through them, the playwright wrestles with his past demons.
Covering a single day and night, O'Neill's play traces the impact on the family relapse into a drug addiction and younger son Edmund's being institutionalized for consumption. These events reopen old wounds and resentments and initiate a harrowing series of accusations and recriminations that threaten to tear apart the family.
At turns haunting, riveting, and emotionally lacerating, Long Day's Journey Into Night is one of O'Neill's greatest plays.
Directed by Arvin Brown, starring Robert Ryan, Stacy Keach, Geraldine Fitzgerald with James Naughton and Paddy Croft
- Sales Rank: #8425819 in Books
- Published on: 1940-06
- Original language: English
- Dimensions: 8.25" h x 5.50" w x .50" l, .1 pounds
- Binding: Hardcover
Amazon.com Review
This work is interesting enough for its history. Completed in 1940, Long Day's Journey Into Night is an autobiographical play Eugene O'Neill wrote that--because of the highly personal writing about his family--was not to be released until 25 years after his death, which occurred in 1953. But since O'Neill's immediate family had died in the early 1920s, his wife allowed publication of the play in 1956. Besides the history alone, the play is fascinating in its own right. It tells of the "Tyrones"--a fictional name for what is clearly the O'Neills. Theirs is not a happy tale: The youngest son (Edmond) is sent to a sanitarium to recover from tuberculosis; he despises his father for sending him; his mother is wrecked by narcotics; and his older brother by drink. In real-life these factors conspired to turn O'Neill into who he was--a tormented individual and a brilliant playwright.
Review
This was the environment, respectably middle class on the surface, obsessed and tortured inside, out of which our most gigantic writer of tragedy emerged. -- The New York Times Book Review, Brooks Atkinson
About the Author
Eugene O'Neill (1888-1953) was one of the most significant playwrights America has ever produced. His other plays include The Hairy Ape, The Emperor Jones, A Moon For the Misbegotten, and The Iceman Cometh. He received the Nobel Prize for literature in 1936.
Most helpful customer reviews
1 of 1 people found the following review helpful.
stage directions personified
By Duane M. Timm
I have seen the play and enjoyed it. I will see it again soon but this time I wanted to be more 'ahead of the game' so I read it before seeing it. What a difference. I so look forward to seeing it now. It is tragic but there is so much more to the book than just the dialogue. O'Neill has unbelievable stage directions and this does so much in helping to understand all 4 of these pathetic characters. There are so many emotions on display and simple things like smoothing her hair (nervous reaction) or shedding a tear (love or sympathy) helped me to understand. It is amazing this all takes place in less than 24 hours. I could visualize everything on stage from the set to the individual characters. Some of the dialogue is dated, but the story is still contemporary and powerful. O'Neill is a genius and he deserves the praise and awards he received.
1 of 1 people found the following review helpful.
Dependency, co- and otherwise…
By John P. Jones III
Eugene O’Neill was awarded the Nobel Prize for Literature in 1936, and won several Pulitzer Prizes for Drama. “Long Day’s Journey…” is generally considered his magnum opus. It was first performed in 1956, three years after his death. For this Kindle edition, with the all-too-appropriate cover, there is an introduction by Harold Bloom, one of the many of this genre that might be easily skipped. Bloom is unequivocal in his praise: “Long Day’s Journey must be the best play in our more than two centuries as a nation.” Bloom performs a tour-de-force of brief comparisons between O’Neill and most other celebrated writers. Warning! If you decide to plod through the intro, you may enjoy the following insights: “O’Neill seems a strange instance of the Aestheticism of Rossetti and Pater, but his metaphysical nihilism, desperate faith in art and phantasmagoric naturalism stem directly from them.”
As for the play itself, there are only five characters: James Tyrone, 65, an accomplished actor, his wife Mary, 54, stricken with rheumatism, their son James, 33 a ne’er-do-well, still searching for his place in the world, and the younger son, Edmund, 23, who is not in good health, along with an Irish servant girl, Cathleen. The entire play occurs on one day, in August, 1912, at the Tyrone’s summer house (and only house), somewhere along the New England coast.
Although the play is set in time more than a century ago, the central theme could be ripped from today’s headlines concerning opioid abuse and addiction. Mary got “hooked” on morphine, prescribed to her by a doctor after the death of her second son. She continues to seek its solace, since, as she says: “It hides you from the world and the world from you. You feel that everything has changed, and nothing is what it seemed to be. No one can find or touch you anymore.” Denial is the addict’s crutch, as Mary proclaims: “Now I have to lie, especially to myself.” But she is not the only one in denial – at one level or another, all the males in the family skirt around the issue of their wife’s / mother’s dependency problems – it is just a little medicine for her rheumatism.
And the men have their own “dependency problem”: alcohol! It is a dependency that has always been more open, and socially acceptable. I had to chuckle at one part of the play – both my son, and I, when I was my son’s age, had roommates who had alcohol dependency problems, and would drink our liquor, and then add water to the bottle so that the level of alcohol would appear to be the same. This technique played out prominently in the play, with the father James knowing that the sons did this.
No question that it is a well-written and structured play. O’Neill utilizes flashbacks to provide scenes from James and Mary’s courtship and marriage. Mary had two youthful dreams: to be a nun or a concert pianist – the latter now impossible with her rheumatic fingers. Money issues have continued to be a major issue in their lives. The author has helped push me to finally read Baudelaire since O’Neill has the younger son, Edmund, quote him (to the annoyance of the others) on several occasions (“the vulgar herd can never understand”).
It is a depressing play, about an unfortunately depressing and familiar subject. The reader – or at least this one – wants to shake any one of the characters, and say simply: “Get on with your life – there are a lot of roses that still need to be smelt.” I know that is a prime reason I would never re-read this play, and have been tempted to give it only four stars, yet that rating is simply too subjective. O’Neill has written a great, 5-star, timeless play.
3 of 3 people found the following review helpful.
I love this play more than I could ever express
By Layde Ravyn
I love this play more than I could ever express. Now that it is in kindle form means I can carry it with me everywhereI go!
"You've just told me some high spots in your memories. Want to hear mine? They're all connected with the sea. Here's one...
For a second you see -- and seeing the secret, are the secret. For a second there is meaning!...It was a great mistake, my being born a man, I would have been much more successful as a sea gull or a fish. As it is, I will always be a stranger who never feels at home, who does not really want and is not really wanted, who can never belong, who must always be a a little in love with death!"
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