By Stephen Bottoms
Edward Albee, possibly top recognized for his acclaimed and notorious Nineteen Sixties drama who is frightened of Virginia Woolf?, is certainly one of America's maximum residing playwrights. Now in his seventies, he's nonetheless writing not easy, award-winning dramas. The essays during this assortment supply a complete, multi-faceted survey of Albee's profession. Written in a fascinating and obtainable means, this publication may still charm both to scholars, students, and basic readers.
Read or Download The Cambridge Companion to Edward Albee (Cambridge Companions to Literature) PDF
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Additional info for The Cambridge Companion to Edward Albee (Cambridge Companions to Literature)
Sample text
Good profile, straight nose, honest eyes, wonderful smile,” he has Hollywood inscribed all over. He resembles that other pop-cultural idol, Elvis Presley, who also had a twin who died in childbirth, and who was groomed for stardom by Colonel Tom Parker – taught to remove from his image any perceived threat to wholesome American values. Albee may not have had Elvis in mind, but The American Dream does tweak the glamor of showbiz in a homogenized America. After exchanging banalities with Mrs. Barker and Grandma, the Young Man leaves the stage, only to reappear for the benefit of Mommy and Daddy.
His aunt “dropped dead on the stairs to her apartment” (24). People escape Jerry by seeking exits to hallways: “I never see the pretty little ladies more than once, and most of them wouldn’t be caught in the same room with a camera” (25). Most important, he has been to the zoo where animals, like people, are caged. “Well, all the animals are there, and all the people are there” (40). Near the end of the play, Jerry tells of the “lion keeper com[ing] into the lion cages” (40), reinforcing verbally and spatially his observations on the imprisonment of human/animal relationships.
To what we can understand,” Miss Alice later remarks (98). And while Lawyer may warn Julian “never to confuse the representative of a . . thing with the thing itself” (33), the question remains how we can ever know the thing itself, when our understanding is always already informed by our maps or representations of it. The point is underlined further when Lawyer describes the corrupt Cardinal as “the representative of an august and revered . . body” (33). He means the Catholic Church, of course, but his hesitation over the last word emphasizes the status of language itself as approximation, as metaphor: even the body, the physical ground of human being, is implicated as the stand-in for, the representative of, something else – just as it is when used by an actor.
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