Notes

Prologue

1. Dorothy Day, “Told in Context,” ca. 1958, Dorothy Day Papers, series D-3, box 7, file 2, Special Collections and University Archives, Raynor Memorial Libraries, Marquette University, Milwaukee, Wis.

2. James Light, interview by Louis Sheaffer, August 14, 1962, Sheaffer-O’Neill Collection, Linda Lear Center for Special Collections and Archives, Connecticut College, New London.

3. Anna Alice Chapin, Greenwich Village (New York: Dodd, Mead, 1920), 237.

4. Croswell Bowen, “The Black Irishman” (1946), in O’Neill and His Plays: Four Decades of Criticism, ed. Oscar Cargill, N. Bryllion Fagin, and William J. Fisher (New York: New York University Press, 1961), 82.

5. Susan Glaspell, undated entry in notebook dated October 16, 1915, p. 20, Susan Glaspell Collection, Clifton Waller Barrett Library of American Literature, Albert and Shirley Small Special Collections Library, University of Virginia, Charlottesville.

6. A. J. Philpot, “Biggest Art Colony in the World at Provincetown,” Boston Globe, August 27, 1916, SM9.

7. Quoted in Pierre Loving, “Eugene O’Neill,” Bookman, August 1921, 516.

8. Hutchins Hapgood, A Victorian in the Modern World (New York: Harcourt, Brace, 1939), 396.

9. Harry Kemp, “O’Neill of Provincetown,” Brentano’s Book Chat, May–June 1929, 45–47.

10. Mary Heaton Vorse, Time and the Town: A Provincetown Chronicle (1942), ed. Adele Heller (New Brunswick, N.J.: Rutgers University Press, 1991), 120–21; Hutchins Hapgood to Mabel Dodge, July 1, 1916, Hapgood Family Papers, Beinecke Library, Yale University, New Haven.

11. Harry Kemp, “Out of Provincetown: A Memoir of Eugene O’Neill” (1930), in Conversations with Eugene O’Neill, ed. Mark W. Estrin (Jackson: University Press of Mississippi, 1990), 96.

12. Along with his caricatural portrayal of Mexicans in The Movie Man, O’Neill also employed “sight dialect,” for instance, foreign-looking spellings that match proper pronunciation: “happee” for “happy,” “crazee” for “crazy,” “angree” for “angry,” etc.

13. Frederick P. Latimer, “Eugene Is beyond Us,” (New London) Day, February 15, 1928, 6.

14. Kemp, “Out of Provincetown,” 96.

15. Vorse, Time and the Town, 121.

16. Kemp, “Out of Provincetown,” 96.

Introduction

1. Thomas Flanagan, “Master of the Misbegotten,” in There You Are: Writings on Irish and American Literature and History, ed. Christopher Cahill (New York: New York Review of Books, 2004), 41–61; Rohan Preston, “The Dean of Dysfunction,” Minneapolis Star Tribune, January 18, 2013, http://www.startribune.com/entertainment/stageandarts/187324901.html; Alan Dale, “O’Neill Play of Nine Acts and Six Hours Reviewed by Dale,” New York American, January 31, 1928, 9.

2. Eugene O’Neill to Mary Clark, August 5, 1923, Sheaffer-O’Neill Collection, in The Straw file, Linda Lear Center for Special Collections and Archives, Connecticut College, New London.

3. Eugene O’Neill to Mrs. Hills, March 21, 1925, Sheaffer-O’Neill Collection, in Desire Under the Elms file; Alta May Coleman, “Personality Portraits No. 3: Eugene O’Neill,” Theatre Magazine, April 1920, 264, 302. O’Neill used this exclamatory remark as an ironic mantra with which to get through difficult times.

4. Quoted in Croswell Bowen, The Curse of the Misbegotten: A Tale of the House of O’Neill (New York: McGraw-Hill, 1959), 310–11.

5. Quoted in Louis Sheaffer, Son and Playwright (Boston: Little, Brown, 1968), 419; Eugene O’Neill, Complete Plays, 1913–1920, ed. Travis Bogard (New York: Library of America, 1988), 1:647. Hereafter, unless otherwise indicated, all references to O’Neill’s plays will be to this three-volume edition (the second and third volumes are Complete Plays, 1920–1931, and Complete Plays, 1932–1943) and will be provided in text with volume and page number: for example, CP1, 647. The year that each play was completed will not be identified in parentheses as they are listed in the appendix.

6. Eugene O’Neill Theater Festival, October 17, 2009, Eugene O’Neill Theater Center, Waterford, Conn.

7. Laurie Metcalf and Nathan Lane, “Two Journeys into O’Neill, via E-Mail,” New York Times, June 14, 2012, AR7.

8. Helen Mirren, interview by Liane Hansen, “Helen Mirren, Acting Out as Tolstoy’s Wild Sofya,” Weekend Edition Sunday, January 17, 2010, NPR, http://www.npr.org/templates/story/story.php?storyId=122613323.

9. “Cornel West Commentary: The Plays of Eugene O’Neill,” The Tavis Smiley Show, November 26, 2003, NPR, http://www.npr.org/templates/story/story.php?storyId=1522880; T. C. Boyle, “Celtic Twilight: 21st-Century Irish Americans on Eugene O’Neill,” Drunken Boat #12, http://www.drunkenboat.com/db12/04one/boyle/index.php.

10. Sinclair Lewis, “Nobel Prize Lecture: The American Fear of Literature,” December 12, 1930, Nobelprize.org, http://www.nobelprize.org/nobel_prizes/literature/laureates/1930/lewis-lecture.html.

11. “Eugene O’Neill Talks of His Own and the Plays of Others,” New York Herald Tribune, November 16, 1924, sec. 7–8, 14; FBI memorandum, April 22, 1924 (obtained by the author through the Freedom of Information Act). The Bureau also identified him as a possible contributing editor in 1919 at poet Hart Crane’s magazine the Pagan, which advanced individual happiness as a societal good. (That the pursuit of happiness was considered a radical philosophy is a sign of his times if there ever was one.) There is an “E. O’Neil” listed as an associate editor in the journal; ironically, the only item attributable to O’Neill (titled “Post-Lude” and appearing in volume 4, issue 1) is a few lines signed “A. Pagan Knight,” in which he accuses a New York playhouse of peddling “propaganda.”

12. FBI memorandum, April 22, 1924. This wasn’t the last time O’Neill’s name passed across a federal agent’s desk. The New London Day reported as late as 1996 that the domestic eco-terrorist Theodore “Ted” Kaczynski, a.k.a. “the Unabomber,” had applied $1 O’Neill commemorative stamps to package bombs designed to kill the addressee. After this breakthrough in the high-profile case, the FBI opened a file titled “Eugene O’Neill” and another on the Eugene O’Neill Society, which contained directories of its members from 1979 to 1992. Remnants of O’Neill stamps were found at five crime scenes associated with Kaczynski’s years-long rampage, including his first attack, at Northwestern University in 1978. The FBI was tracking a bogus scent, however: in Kaczynski’s handwritten response (May 20, 2013) to my letter of inquiry, he called the FBI connection “bull manure.” “I’ve never had the faintest interest in Eugene O’Neill and I’ve never read anything by him, unless perhaps I was required to read something of his in a high-school English course, in which case I promptly forgot it.”

13. Arthur Miller, Timebends (New York: Grove, 1987), 228, 229.

14. Carol Bird, “Eugene O’Neill—The Inner Man” (1924), in Conversations with Eugene O’Neill, ed. Mark W. Estrin (Jackson: University Press of Mississippi, 1990), 52. Bird implies in her piece that the quotations are paraphrases, given O’Neill’s laconic responses to her questions.

15. Eugene O’Neill, Selected Letters of Eugene O’Neill, ed. Travis Bogard and Jackson R. Bryer (New Haven: Yale University Press, 1988), 206.

16. Committee for Racial Democracy in the Nation’s Capital, “Eugene O’Neill Pledges No More of His Plays at National Theater unless Color Bar Is Dropped,” March 24, 1947, Rev. Wilfred Parsons, SJ, Papers, box 8, file 9, Georgetown University Library, Washington, D.C.

17. O’Neill, Selected Letters, 515.

18. Quoted in Croswell Bowen, The Curse of the Misbegotten: A Tale of the House of O’Neill (New York: McGraw-Hill, 1959), 313.

19. William Faulkner, “American Drama: Eugene O’Neill,” in William Faulkner: Early Prose and Poetry (New York: Little, Brown, 1962), 87.

20. Stella Adler, On America’s Master Playwrights (New York: Knopf, 2012), 8.

21. James Light, “The Parade of Masks,” undated, T-Mss 2001–050, Billy Rose Theatre Division, New York Public Library.

22. Tony Kushner, “The Genius of O’Neill,” Eugene O’Neill Review 26 (2004): 248.

23. O’Neill, Selected Letters, 26.

24. Ibid., 545.

25. Ibid., 203.

ACT I: The Ghosts at the Stage Door

Notes to pp. 25–26: “that you write for the stupid” (Brenda Murphy, American Realism and American Drama, 1880–1940 [New York: Cambridge University Press, 1987], 58); “What the American public always wants” (quoted in R. W. B. Lewis, Edith Wharton: A Biography [New York: Harper and Row, 1975], 172); “This highest of distinctions” (Eugene O’Neill, “The Nobel Prize Acceptance Letter,” in The Unknown O’Neill: Unpublished and Unfamiliar Writings of Eugene O’Neill, ed. Travis Bogard [New Haven: Yale University Press, 1988], 427).

1. Arthur Gelb and Barbara Gelb, O’Neill: Life with Monte Cristo (New York: Applause, 2000), 42.

2. “Talks with Actors: James O’Neill Relates Something of His Career—An Ambition to Get into the Legitimate: A Buffalo Boy Who Has Risen,” Buffalo Express, September 28, 1885, 5. This anecdote was circulated widely and can be found in numerous sources. James O’Neill himself quotes Neilson as saying this, referring to her as the “queen of the actresses,” in “James O’Neill,” Famous Actors of the Day in America (Boston: L. C. Page, 1899), 144. The full quotation reads: “Of all of the Romeos I have ever played with, a little Irishman named O’Neill, leading man in Chicago, was the best.”

3. Quoted in Hamilton Basso, “The Tragic Sense—I,” New Yorker, February 28, 1948, 34.

4. J. B. Russak, introduction to “Monte Cristo” by Charles Fechter and Other Plays, ed. J. B. Russak (Princeton, N.J.: Princeton University Press, 1941), 4.

5. Charles Webster, interview by Louis Sheaffer, October 28, 1960, Sheaffer-O’Neill Collection, Linda Lear Center for Special Collections and Archives, Connecticut College, New London.

6. James O’Neill believed he performed Monte Cristo six thousand times; though Louis Sheaffer argues in O’Neill: Son and Playwright (Boston: Little, Brown, 1968, 42) that it was probably closer to four thousand total, James told a reporter that by 1901 he’d already performed it four thousand times (Frederic Edward McKay, “O’Neill as Monte Cristo to the Bitter End,” New York Morning Telegraph, April 1901, 2).

7. Charles Fechter, Monte Cristo (1870), in “Monte Cristo” by Charles Fechter and Other Plays, 38.

8. “Talks with Actors: James O’Neill.”

9. Fechter, Monte Cristo, 42.

10. Quoted in Basso, “Tragic Sense—I,” 34–35.

11. Sheaffer, Son and Playwright, 44; McKay, “O’Neill as Monte Cristo to the Bitter End,” 2.

12. [No first name] Cheney, “Footlight Favorites … The Early Promise of James O’Neill, of ‘Monte Cristo’ Fame—a Promise Not Entirely Fulfilled,” St. Paul Sunday Globe, March 22, 1885, 9. The reporter also insinuates that James confessed a tragic end to his torrid affair with actress Louise Hawthorne in 1876 had exacted a heavy psychological toll, which might explain his self-removal from greatness. Hawthorne, who was married at the time, had followed James to Chicago and was staying at the Tremont Hotel. After his performance in the French melodrama The Two Orphans, which she attended, he apparently visited her room and broke off their relationship. “That interview must have been a stormy, crushing, heart-breaking affair,” the gossip mongering went on. “Five minutes after O’Neill bade Miss Hawthorne adieu, she sprang from the fifth story window and fell to her death on the pavement below.” “There are some events that murder a man’s ambition,” the reporter concluded, “and that terrible tragedy may have altered the whole course of O’Neill’s life. He alone can tell.”

13. Quoted in Basso, “Tragic Sense—I,” 34–35.

14. Edmund was of course named for the Irish statesman Edmund Burke (the child’s middle name was Burke), but the fact remains: given that Edmund was referred to as Edmund, James O’Neill made the connection to his stage character singularly clear. He also made it a habit to name his properties in New London after his character, such as Monte Cristo Cottage on Pequot Avenue and Monte Cristo Garage at the top of Union Street, where the words “Monte Cristo” are still inlaid above the garage doors in red brick.

15. Gelb and Gelb, O’Neill, 100.

16. Quoted in Sedalia Weekly Bazoo, March 31, 1885, 8.

17. “Autograph Manuscript, 1 page,” Hammerman Collection, www.eoneill.com/manuscripts/27200.htm.

18. Sheaffer, Son and Playwright, 24.

19. George C. Tyler, Whatever Goes Up: The Hazardous Fortunes of a Natural Born Gambler (Brooklyn: Braunworth, 1934), 92–93.

20. Gelb and Gelb, Life with Monte Cristo, 671, note “Of the Indian”; Elizabeth Shepley Sergeant, “Casual Notes on O’Neill, the Writer,” TS with handwritten corrections and notes, 1946, p. 2, Elizabeth Shepley Sergeant Papers, Beinecke Library, Yale University, New Haven.

21. “Buffalo Bill’s Wild West Routes,” February 2013, a list compiled at the Buffalo Bill Center of the West, Cody, Wyo. My thanks to Linda S. Clark, assistant managing editor of the Papers of William F. Cody, whose e-mail (July 8, 2013) responded to my request to verify James O’Neill and William F. Cody’s crossing of paths in Chicago.

22. “In Many Theatres,” New York Dramatic Mirror, March 13, 1893, 9; “Side-Tracked,” New York Dramatic Mirror, April 1, 1893, 9.

23. “Well Rid of a Nuisance: Buffalo Bill Soon to Sail to Europe with the Hostile Ghost Dancers,” Pittsburgh Dispatch, March 14, 1891, 1.

24. Bowen, “Black Irishman,” 84.

25. Sergeant, “Casual Notes on O’Neill,” 1.

26. Basso, “Tragic Sense—I,” 34.

27. Ann-Louise S. Silver, “American Psychoanalysts Who Influenced Eugene O’Neill’s Long Day’s Journey Into Night,” Journal of the American Academy of Psychoanalysis 29, no. 2 (2001): 315.

28. David Karsner, “Eugene O’Neill at Close Range in Maine,” New York Herald Tribune, August 8, 1926, sec. 8, 5.

29. The complete diagram can be found in Sheaffer, Son and Playwright, 506.

30. Gelb and Gelb, Life with Monte Cristo, 164–65. This episode was conveyed to the Gelbs in an interview with Carlotta Monterey. See 675, note “Nearly fifteen.”

31. Eugene O’Neill, Selected Letters of Eugene O’Neill, ed. Travis Bogard and Jackson R. Bryer (New Haven: Yale University Press, 1988), 210.

32. Croswell Bowen, “The Black Irishman” (1946), in O’Neill and His Plays: Four Decades of Criticism, ed. Oscar Cargill, N. Bryllion Fagin, and William J. Fisher (New York: New York University Press, 1961), 67.

33. Sheaffer, Son and Playwright, 101.

34. Carlotta Monterey, interview by Louis Sheaffer, July 29, 1962, Sheaffer-O’Neill Collection; Dorothy Day, “Told in Context,” ca. 1958, Dorothy Day Papers, series D-3, box 7, file 2, Special Collections and University Archives, Raynor Memorial Libraries, Marquette University, Milwaukee, Wis. This reminiscence was written after Dorothy Day had published her autobiography The Long Loneliness (1952). It was apparently written as an addendum to Agnes Boulton’s memoir, Part of a Long Story, which offers intimate details about Day’s relationship with O’Neill (“Told in Context”).

35. O’Neill, Selected Letters, 11, 14.

36. Ibid., 14, 17.

37. Eugene O’Neill, “As Ever, Gene”: The Letters of Eugene O’Neill to George Jean Nathan, ed. Nancy L. Roberts and Arthur W. Roberts (Rutherford, N.J.: Farleigh Dickinson University Press, 1987), 116; Warren H. Hastings and Richard F. Weeks, “Episodes of Eugene O’Neill’s Undergraduate Days at Princeton,” Princeton University Library Chronicle 29, no. 3 (1968): 208–15.

38. Sheaffer, Son and Playwright, 116; Hastings and Weeks, “Episodes”; Croswell Bowen, The Curse of the Misbegotten: A Tale of the House of O’Neill (New York: McGraw-Hill, 1959), 21; doggerel quoted in Hastings and Weeks, “Episodes.”

39. Hastings and Weeks, “Episodes”; Jordan Y. Miller and Winifred Frazer, American Drama between the Wars: A Critical History (Boston: Twayne, 1991), 32; James T. Farrell, “Some Observations on Naturalism, So-called, in Fiction” (1950), in Documents of American Realism and Naturalism, ed. Donald Pizer (Carbondale: Southern Illinois University Press, 1998), 253.

40. See my essay “Sad Endings and Negative Heroes: The Naturalist Tradition in American Drama,” in The Oxford Handbook to American Literary Naturalism, ed. Keith Newlin (New York: Oxford University Press, 2011), 427–44.

41. O’Neill, Selected Letters, 477.

42. Hastings and Weeks, “Episodes.”

43. Ibid.; George Jean Nathan, “The Bright Face of Tragedy,” Cosmopolitan, August 1957, 66–69; Hastings and Weeks, “Episodes.”

44. Bowen, Curse of the Misbegotten, 67.

45. Sheaffer, Son and Playwright, 114; Karsner, “Eugene O’Neill at Close Range in Maine.”

46. O’Neill, Selected Letters, 170.

47. Quoted in Basso, “Tragic Sense—I,” 35. The convention at the time was to spell “MacDougal Street” with a lowercase “d,” and I respect that spelling here.

48. Quoted in Sheaffer, Son and Playwright, 104.

49. See my essay “On Eugene O’Neill’s ‘Philosophical Anarchism,’” Eugene O’Neill Review 29 (Spring 2007): 50–72.

50. Charles A. Madison, Critics and Crusaders (New York: Holt, 1947–48), 200; Sheaffer, Son and Playwright, 102, 103.

51. Quoted in Dorothy Commins, ed., “Love and Admiration and Respect”: The O’Neill-Commins Correspondence (Durham, N.C.: Duke University Press, 1986), 1, 13.

52. Gelb and Gelb, Life with Monte Cristo, 243.

53. O’Neill, Selected Letters, 499.

54. Drew Eisenhauer, “‘A Lot of Crazy Socialists and Anarchists’: O’Neill and the Artist Social Problem Play,” in Eugene O’Neill and His Early Contemporaries: Bohemians, Radicals, Progressives, and the Avant Garde, ed. Eileen Herrmann and Robert M. Dowling (Jefferson, N.C.: McFarland, 2011), 130, 113.

55. Manuel Komroff, “Manuel Komroff,” in Anarchist Voices: An Oral History of Anarchism in America, ed. Paul Avrich (Oakland, Calif.: AK, 2005), 203; Peter Schjeldahl, “Young and Gifted,” New Yorker, June 25, 2012, 78–79.

56. Quoted in Sheaffer, Son and Playwright, 144.

57. The Division and Vital Statistics Administration of the New Jersey Department of Health lists it as October 2 (see Gelb and Gelb, Life with Monte Cristo, 255, 683, note “Gilpin officiated”), yet the divorce case, Kathleen O’Neill v. Eugene G. O’Neill, gives the date as July 26. The October date is accurate; Kathleen probably claimed the July 26 date to place Eugene Jr.’s conception within the bonds of marriage.

58. Agnes Boulton, Part of a Long Story: “Eugene O’Neill as a Young Man in Love,” ed. William Davies King (Jefferson, N.C.: McFarland, 2011), 166; Sheaffer, Son and Playwright, 149.

59. O’Neill, Selected Letters, 18.

60. Ibid., 18–19, 173.

61. Ibid., 19–20. O’Neill also referred to it as “the Siberia of the tropics” to his second wife, Agnes Boulton, in the summer of 1918 (see Boulton, Part of a Long Story, 163).

62. O’Neill, Selected Letters, 20, 170.

63. Gelb and Gelb, Life with Monte Cristo, 337; Sheaffer, Son and Playwright, 158, 159.

64. Sheaffer, Son and Playwright, 161.

65. O’Neill, Selected Letters, 170.

66. Quoted in Sheaffer, Son and Playwright, 164.

67. Eugene O’Neill, “Free” (1912), in Poems, 1912–1944, ed. Donald Gallup (New Haven, Conn.: Ticknor and Fields, 1980), 1.

68. See Robert A. Richter, Eugene O’Neill and Dat Ole Davil Sea: Maritime Influences in the Life and Works of Eugene O’Neill (Mystic, Conn.: Mystic Seaport, 2004).

69. Quoted in Joel Pfister, Staging Depth: Eugene O’Neill and the Politics of Psychological Discourse (Chapel Hill: University of North Carolina Press, 1995), 110.

70. Quoted in Sheaffer, Son and Playwright, 169; quoted in Louis Sheaffer, O’Neill: Son and Artist (Boston: Little, Brown, 1973), 553.

71. Richter, Eugene O’Neill and Dat Ole Davil Sea, 48, 50; O’Neill, Selected Letters, 503.

72. Richter, O’Neill and Dat Ole Davil Sea 52; Jason Wilson, Buenos Aires: A Cultural and Literary History, Cities of the Imagination Series (Oxford: Signal, 2000), 157.

73. C. J. Ballantine, “Smitty—of S. S. Glencairn,” New York World, January 6, 1929; Sheaffer, Son and Playwright, 175; Karsner, “Eugene O’Neill at Close Range in Maine.”

74. Sheaffer, Son and Playwright, 177; Barrett H. Clark, Eugene O’Neill: The Man and His Plays, rev. ed. (New York: Dover, 1947), 10; Sheaffer, Son and Playwright, 184.

75. Basso, “Tragic Sense—I,” 36; Olin Downes, “Playwright Finds His Inspiration on Lonely Sand Dunes by the Sea” (1920), in Conversations with Eugene O’Neill, ed. Mark W. Estrin (Jackson: University Press of Mississippi, 1990), 9. O’Neill later claimed on several occasions that he signed onto a steamer shipping mules to Durban, South Africa. He related that he wasn’t allowed to disembark in Africa because he didn’t have the entry fee of £100. No record of this voyage exists, and when he signed onto the ship that would take him back to the United States, the S.S. Ikala, he called it his “first” ship—that is, his first berth as a working seaman (Sheaffer, Son and Playwright, 184).

76. Quoted in Sheaffer, Son and Playwright, 182–83.

77. Gelb and Gelb, Life with Monte Cristo, 526.

78. “The Bridegroom Weeps!” holograph poem signed “E. G. O’Neill,” n.d., Henry W. and Albert A. Berg Collection of English and American Literature, New York Public Library, New York. The title is underlined by O’Neill. The manuscript was deposited at the Berg on March 27, 1974, and authenticated by his Provincetown companion Elaine Freeman, an artist who evidently spent a great deal of time with him in the summer of 1917. Freeman also gave the Berg, among other items, a letter O’Neill wrote to her from Provincetown on September 19, 1917. O’Neill’s handwriting, which changed over the years, matches both, and they were both written in pencil. In 2011, a later version of this poem emerged, published on eoneill.com, in the handwriting of O’Neill’s second wife, Agnes Boulton. A note at the bottom of the manuscript indicates that Agnes committed it to paper in Mt. Point Pleasant, New Jersey, in the winter of 1918–19.

79. “‘Smitty the Duke’ Was a Real Man O’Neill Met,” New York Herald, November 16, 1924.

80. Ballantine, “Smitty—of S. S. Glencairn.”

81. Ibid.

82. Quoted in Sheaffer, Son and Playwright, 445.

83. Eugene O’Neill, “Inscrutable Forces,” a letter to Barrett Clark (1919), in Cargill, Fagin, and Fisher, O’Neill and His Plays, 99.

84. Quoted in Pfister, Staging Depth, 109.

85. Quoted in Hamilton Basso, “The Tragic Sense—III,” New Yorker, March 13, 1948, 38.

86. Sheaffer, Son and Playwright, 145, 188.

87. “‘Whisky’ Kills Twelve More Men in East,” New York Tribune, December 31, 1919, 7; “Two Men Dead, Two Ill from Bad Booze,” Brooklyn Standard Union, December 28, 1919, 4.

88. John H. Raleigh, introduction to Twentieth Century Interpretations of “The Iceman Cometh”: A Collection of Critical Essays (Englewood Cliffs, N.J.: Prentice-Hall, 1968), 4–5.

89. Quoted in Sheaffer, Son and Playwright, 190; Eugene O’Neill, Exorcism: A Play in One Act (1919) (New Haven: Yale University Press, 2012), 1; Herbert Corey, “Manhattan Days and Nights,” Binghamton Press and Leader, November 14, 1924.

90. Harry Hope’s bar, the setting of The Iceman Cometh, is based on three of O’Neill’s favorite Manhattan watering holes: Jimmy the Priest’s; the Garden Hotel on the northeast corner of Madison and Twenty-seventh Street across from the old Madison Square Garden; and the Hell Hole, or the Golden Swan Cafe, at Fourth Street and Sixth Avenue. But O’Neill had Jimmy’s bar at the forefront of his mind when writing Iceman—in it, the bartender Rocky twice mentions “the Market people across the street and the waterfront workers” who come in at lunchtime, referring to people working around Washington Market, located across from Jimmy’s (CP3, 584, 652). He also specifies that the location is a Raines-Law hotel on “the downtown West Side of New York” (CP3, 563). O’Neill, Poems, 37.

91. Gelb and Gelb, Life with Monte Cristo, 311; George Jean Nathan, “The Bright Face of Tragedy,” Cosmopolitan, August 1957, 66–69; Sheaffer, Son and Playwright, 192; Agnes Boulton, interview by Louis Sheaffer, October 1962, Sheaffer-O’Neill Collection.

92. Steffens is quoted in Winifred Frazer’s article “A Lost Poem by Eugene O’Neill,” Eugene O’Neill Newsletter 3, no. 1 (1979). In the late 1970s, Frazer first identified “American Sovereign” as the first O’Neill poem ever published.

93. Quoted in Sheaffer, Son and Playwright, 194.

94. Quoted in Doris Alexander, “Eugene O’Neill as Social Critic,” in Cargill, Fagin, and Fisher, O’Neill and His Plays, 393.

95. O’Neill’s time working as a seaman comes from Louis Sheaffer’s estimation (William Davies King, Another Part of a Long Story: Literary Traces of Eugene O’Neill and Agnes Boulton [Ann Arbor: University of Michigan Press, 2010], 254n5); Leonard Lyons, “Lyons Den,” New York Post, November 13, 1936, Doris Alexander Papers, Linda Lear Center for Special Collections and Archives. This certificate now hangs on the wall of his study at Tao House in Danville, California. For a more complete understanding of O’Neill’s maritime world, in addition to Richter, O’Neill and Dat Ole Davil Sea, see Patrick Chura, “‘Vital Contact’: Eugene O’Neill and the Working Class” (2003), in Herrmann and Dowling, Eugene O’Neill and His Early Contemporaries, 9–30.

96. Mary B. Mullett, “The Extraordinary Story of Eugene O’Neill” (1922), in Estrin, Conversations with Eugene O’Neill, 31.

97. Louis Kalonyme [Louis Kantor], “O’Neill Lifts Curtain on His Early Days” (1924), in Estrin, Conversations with Eugene O’Neill, 67.

98. General Register and Record Office of Shipping and Seamen, Cardiff, to Louis Sheaffer, March 1965 (no day given), Sheaffer-O’Neill Collection.

99. http://www.ellisisland.org and http://freepages.genealogy.rootsweb.ancestry.com/∼colin/DriscollOfCork/Emigration/EllisByResidence.htm.

100. Clark, Eugene O’Neill, 85.

101. Chicago Eagle, July 16, 1904, 2; [James F. Byth], “Boer War Spectacle—Coney Island’s Newest Show,” New York Times, May 21, 1905. Given that Byth was A. W. Lewis’s press agent, I can attribute to him a press release on the Boer Spectacle and its participants that appeared above his friend James O’Neill’s interview, “Mistakes of Shakespeare,” Elmira (N.Y.) Summary, May 27, 1905, 2; O’Neill, Selected Letters, 306.

102. William Johnston, “To-Day’s the Time,” Pleiades Club Year Book (New York: Pleiades Club, 1912), 58.

103. Madison Cawein, “Beside the Road,” Pleiades Club Year Book, 129.

104. See Robert M. Dowling, “Jimmy Tomorrow Revisited: New Sources for The Iceman Cometh,” Eugene O’Neill Review 34, no. 3 (2013): 94–106.

105. O’Neill, Exorcism, 2.

106. Gelb and Gelb, Life with Monte Cristo, 295.

107. Kathleen O’Neill v. Eugene G. O’Neill, County Clerk’s Index #1673, Supreme Court, Westchester County, Westchester County Clerk’s Office, White Plains, N.Y., 1912.

108. Washington Times, April 11, 1912, 11; Variety, n.d., 1913, 10.

109. O’Neill, Selected Letters, 128n2; Nelson O’Ceallaigh Ritschel, “J. M. Synge and the Abbey Theatre’s Leftist Influence on O’Neill,” in Herrmann and Dowling, Eugene O’Neill and His Early Contemporaries, 79.

110. “Staid Columbia University Shelters Radicals,” New York Times, January 15, 1911.

111. “Sees Artist’s Hope in Anarchic Ideas,” New York Times, March 18, 1912, 8.

112. Interview with Moritz Jagendorf, February 23, 1978, in Avrich, Anarchist Voices, 221, 220; Komroff, “Manuel Komroff,” 202; Christine Stansell, American Moderns: Bohemian New York and the Creation of a New Century (New York: Metropolitan, 2000), 133.

113. Robert M. Dowling, ed. “Kathleen O’Neill v. Eugene O’Neill: Proceedings of the New York Supreme Court at White Plains, June 10, 1912,” Eugene O’Neill Review 34, no. 1 (2013): 24. O’Neill’s second wife, Agnes Boulton, implies in her memoir that he did not have sex with the prostitute, that they only talked and chain-smoked, and that eventually he felt “as sorry for her as for himself” (Part of a Long Story, 168). But we should remember that he was describing this event to his new wife.

114. See Robert M. Dowling, “Eugene O’Neill’s Exorcism: The Lost Prequel to Long Day’s Journey Into Night,” Eugene O’Neill Review 34, no. 1 (2013): 1–12.

115. O’Neill, Exorcism, 3, 29.

116. Ibid., 31–32.

117. Ibid., 32, 34, 55. Bearing in mind O’Neill’s lifelong compulsion to project onto the stage emotions impossible for him to express otherwise, I agree with Louis Sheaffer that the script of Exorcism must be considered “the most reliable index of Eugene’s frame of mind after his suicide attempt” (Sheaffer, Son and Playwright, 214).

118. O’Neill, Exorcism, 32.

119. My characterization here refers to when O’Neill describes Stephen Murray, his autobiographical protagonist in The Straw, as someone who “gives off the impression of being somehow dissatisfied with himself but not yet embittered enough by it to take it out on others” (CP1, 732).

120. Gelb and Gelb, Life with Monte Cristo, 330; Boulton, Part of a Long Story, 168.

121. Boulton, Part of a Long Story, 169.

122. Ibid.

123. Quoted in Gelb and Gelb, Life with Monte Cristo, 337.

124. O’Neill, Exorcism, 26–29, 47.

125. See Dowling, “Exorcism: The Lost Prequel.”

126. O’Neill, Selected Letters, 378.

127. Quoted in Sheaffer, Son and Playwright, 215. In the 1920s, O’Neill denied that he wrote the telegram, but then said it was printable because it was such a good yarn (Charles Webster, interview by Louis Sheaffer, December 18, 1962, Sheaffer-O’Neill Collection).

128. O’Neill, Selected Letters, 378.

129. “The New Bills,” Goodwin’s Weekly [Salt Lake City, Utah], February 3, 1912, 13; “Plays and Players at Salt Lake Theaters,” Salt Lake Tribune, February 2 and 4, 1912, magazine section, 6; Karsner, “Eugene O’Neill at Close Range in Maine.”

130. Sheaffer, Son and Playwright, 215; Webster, interview by Sheaffer, December 18, 1962; O’Neill, Selected Letters, 378; Basso, “Tragic Sense—I,” 37; Sheaffer, Son and Playwright, 216.

131. “Orpheum,” Goodwin’s Weekly, February 10, 1912, 12; William Davies King, ed., “A Wind Is Rising”: The Correspondence of Agnes Boulton and Eugene O’Neill (Madison, N.J.: Fairleigh Dickinson University Press, 2000), 159.

132. “Mr. James O’Neill Reaches This City After a Long Trip from New Orleans,” Ogden (Utah) Evening Standard, February 2, 1912, 5.

133. Webster, interviews by Sheaffer, May 8, 1962, and December 18, 1962.

134. “Plays and Players at Salt Lake Theaters,” 6. To view this photograph, see the Library of Congress’s Web site Chronicling America (http://chroniclingamerica.loc.gov/lccn/sn83045396/1912–02–04/ed-1/seq-38/). The O’Neills also played matinee and evening performances the following Saturday, February 3, but that would not have given the Salt Lake Tribune enough time to publish the photograph for the Sunday paper (“No Vaudeville Thursday Night,” Ogden (Utah) Evening Standard, January 31, 1912, 5; see also “News, Notes and Queries,” Eugene O’Neill Newsletter 8, no. 2 [Summer–Fall, 1984], http://www.eoneill.com/library/newsletter/viii_2/viii-2n.htm).

135. Webster, interview by Sheaffer, October 28, 1960.

136. Fechter, Monte Cristo, 68; Webster, interviews by Sheaffer, May 8, 1962, and December 18, 1962.

137. Webster, interview by Sheaffer, December 18, 1962; Gelb and Gelb, Life with Monte Cristo, 322. This is an anecdote O’Neill himself liked to tell often.

138. “O’Neill Failed His Dad,” New York World, October 19, 1929, 14 (reprinted from St. Louis Dispatch, 1929).

139. Ibid.

140. Fechter, Monte Cristo, 39.

141. Webster, interview by Sheaffer, May 8, 1962. In the interview, Webster says O’Neill uttered the line “Is he …?” which doesn’t appear in the full script. It is possible they shortened the line for the vaudeville version.

142. James Light, interview by Louis Sheaffer, November 5, 1961, Sheaffer-O’Neill Collection.

143. O’Neill, Selected Letters, 498; quoted in Sheaffer, Son and Playwright, 215. The Gelbs and Sheaffer disagree about O’Neill’s level of drunkenness, the former believing O’Neill that, as he said, he never drew “a sober breath,” and the latter believing Webster that he didn’t drink more than a few drinks a day. I agree with the Gelbs. O’Neill could hide his drunkenness well, and I don’t believe that he would wish to embarrass his parents or that Webster would be privy to the insular O’Neills’ actual drinking habits.

144. O’Neill, Selected Letters, 498.

145. “People of the Stage,” Cincinnati Commercial Tribune, March 8, 1908, Sheaffer-O’Neill Collection; Sheaffer, Son and Playwright, 216. One of these was the Henry L. Brittain Company, where Eugene had once been employed.

146. Webster, interviews by Sheaffer, May 8, 1962, and December 18, 1962; Fechter, Monte Cristo, 65; Sheaffer, Son and Playwright, 220.

147. Dowling, “Kathleen O’Neill v. Eugene O’Neill,” 16.

148. Kathleen O’Neill v. Eugene G. O’Neill, Westchester County Clerk’s Office.

149. Sheaffer, Son and Playwright, 224; Gelb and Gelb, Life with Monte Cristo, 349; Morgan McGinley, “An Actor’s Visit Stirs Memories of O’Neill’s Day,” (New London) Day, March 1, 1998, D1.

150. Basso, “Tragic Sense—I,” 37; McGinley, “An Actor’s Visit,” D1; Sheaffer, Son and Playwright, 227.

151. Quoted in Clark, Eugene O’Neill, 19; James Light, “The Parade of Masks,” T-Mss 2001-050, Billy Rose Theatre Division, New York Public Library, New York.

152. O’Neill, [untitled poem] (1912), in Poems, 9.

153. Frederick P. Latimer, “Eugene Is beyond Us,” New London Evening Day, February 15, 1928, 6; J. F. O’Neill, “What a Sanatorium Did for Eugene O’Neill,” Journal of the Outdoor Life 20, no. 6 (1923): 192; Donald Gallup, introduction to O’Neill, Poems, vi; Sheaffer, Son and Playwright, 225.

154. Sheaffer, Son and Playwright, 233.

155. Ibid., 289. Maibelle Scott’s grandfather, Captain T. A. Scott, would also appear as Captain Dick Scott in Beyond the Horizon.

156. Ibid., 233, 234.

157. Ibid., 235.

158. Bowen, “Black Irishman,” 65.

159. This line was written into Maibelle’s friend Mildred Culver’s autograph book. Quoted in Gelb and Gelb, Life with Monte Cristo, 434.

160. See Madeline C. Smith, “Harkness, Edward Stephen, and Hammond, Edward Crowninshield,” in Dowling, Critical Companion to Eugene O’Neill, 2:616–17.

161. See Richard Eaton, “Dolan, John ‘Dirty,’” in Dowling, Critical Companion to Eugene O’Neill, 2:573–75. The ice pond was actually located on Hammond’s land, though O’Neill unfairly conflates him with Harkness with the Standard Oil reference.

162. Dr. Heyer appears as Dr. Hardy in Long Day’s Journey, though Heyer was not the quack O’Neill made him out to be (Sheaffer, Son and Playwright, 242).

163. Ibid., 236–37.

164. Ibid, 237.

165. Ibid., 238, 240, 241.

166. Ibid., 240.

167. Ibid., 224.

168. J. F. O’Neill, “What a Sanatorium Did for Eugene O’Neill,” 192.

169. O’Neill, Selected Letters, 25.

170. J. F. O’Neill, “What a Sanatorium Did for Eugene O’Neill,” 192.

171. Gelb and Gelb, Life with Monte Cristo, 387; for a complete breakdown of O’Neill’s reading at Gaylord, see Jean Chothia, Forging a Language: A Study of the Plays of Eugene O’Neill (New York: Cambridge University Press, 1979), 199.

172. Sheaffer, Son and Playwright, 257.

173. O’Neill, “Ye Disconsolate Poet to His ‘Kitten’ Anent Ye Better Farm Where Love Reigneth: Ballade” (1914), in Poems, 42.

174. J. F. O’Neill, “What a Sanatorium Did for Eugene O’Neill,” 192.

175. O’Neill, Selected Letters, 533.

176. William Saroyan, The Time of Your Life (1939) (London: Methuen Drama, 2008), 43.

177. “Human Defects,” Lockport (N.Y.) Union-Sun and Journal, March 18, 1940, 6.

178. Quoted in Sheaffer, Son and Playwright, 155.

179. Notes on James F. Byth, “The Search for Jimmy Tomorrow,” Sheaffer-O’Neill Collection. Sheaffer reports that the New York Health Department Bureau of Records listed Byth’s death as a suicide.

180. Quoted in Charles F. Sweeney, “Back to the Source of Plays Written by Eugene O’Neill,” New York World, November 9, 1924, cited in Doris Alexander, Eugene O’Neill’s Last Plays: Separating Art from Autobiography (Athens: University of Georgia Press, 2005), 23.

181. Clayton Meeker Hamilton, Seen on the Stage (New York: Holt, 1920), 187; Clayton [Meeker] Hamilton, “Eugene G. O’Neill,” Ninth Lecture at Columbia University, April 7, 1924, in Conversations on Contemporary Drama (New York: Macmillan, 1925), 203, Hamilton, Seen, 187.

182. Boulton, Part of a Long Story, 222.

183. Hamilton, Seen, 187–88.

184. Richter, O’Neill and Dat Ole Davil Sea, 138, 142.

185. O’Neill, Selected Letters, 22.

186. Bowen, Curse of the Misbegotten, 114.

187. O’Neill, “Speaking, to the Shade of Dante, of Beatrices” (1915), in Poems, 65.

188. Beatrice Ashe, interview by Louis Sheaffer, September 1962, Sheaffer-O’Neill Collection; O’Neill, Selected Letters, 30.

189. Ashe, interview by Sheaffer, September 1962. (Ashe’s letters from O’Neill are housed at the Berg Collection of the New York Public Library.)

190. Clayton [Meeker] Hamilton, “O’Neill’s First Book: A Review of ‘Thirst,’ and Other One-Act Plays” (1915), in Cargill, Fagin, and Fisher, O’Neill and His Plays, 229; Sheaffer, Son and Playwright, 291.

191. O’Neill, Selected Letters, 125.

192. Ibid.

193. Gladys Hamilton, “Untold Tales of Eugene O’Neill,” Theatre Arts 40, no. 8 (1956): 88.

194. O’Neill, Selected Letters, 125.

195. Tyler, Whatever Goes Up, 91.

196. Gladys Hamilton, “Untold Tales,” 88. Bread and Butter wouldn’t see a performance until 1998. O’Neill claimed later that he destroyed Servitude, but since he copyrighted it at the Library of Congress, it was produced in 1960 at New York International Airport (now JFK). (Given Servitude’s wooden dialogue and sexist views on love and marriage, some might feel it would have been better left to rot in Tyler’s filing cabinet.)

197. O’Neill, Selected Letters, 125; Gladys Hamilton, “Untold Tales,” 88.

198. Hamilton, Seen, 188; Hamilton, “Eugene G. O’Neill.” As well as O’Neill, the graduates of George Pierce Baker’s legendary seminar included playwrights Philip Barry, Sidney Howard, and Edward Sheldon; novelists John Dos Passos and Thomas Wolfe; renowned journalists and critics Robert Benchley, Heywood Broun, and Van Wyck Brooks; O’Neill’s future producers Theresa Helburn and Kenneth Macgowan; and set designers Robert Edmond Jones and Lee Simonson, among many other literary lights (Madeline Smith, “George Pierce Baker,” in Dowling, Critical Companion to Eugene O’Neill, 2:529).

199. O’Neill, Selected Letters, 26.

200. Ibid.

201. The Ebel family’s house was located at 1105 Massachusetts Avenue.

202. O’Neill, Selected Letters, 28, 33.

203. Ibid., 52.

204. Paul D. Voelker, “Eugene O’Neill and George Pierce Baker: A Reconsideration,” American Literature 49, no. 2 (1977): 214; O’Neill, Selected Letters, 36; Pfister, Staging Depth, 107.

205. O’Neill, Selected Letters, 60–61.

206. Ibid., 60.

207. Ibid., 68, 402.

208. John V. A. Weaver, “I Knew Him When—,” New York Sunday World, February 26, 1926.

209. O’Neill, Selected Letters, 28, 54, 47.

210. Ibid., 42; Weaver, “I Knew Him When—.”

211. Sheaffer, Son and Playwright, 297.

212. O’Neill, Selected Letters, 51.

213. Gelb and Gelb, Life with Monte Cristo, 482; O’Neill, Selected Letters, 51; Voelker, “Eugene O’Neill and George Pierce Baker,” 218.

214. Webster, interview by Sheaffer, May 8, 1962; Sheaffer, Son and Playwright, 309–10.

215. Clark, Eugene O’Neill, 28; Sheaffer, Son and Playwright, 317.

216. This address has never been reported, but when the Canton Silk Mill took on the lease of the building in December 1919, the New York Herald reported, “M. & L. Hess and Holten & Leverich have sold the lease on the Garden Hotel, at 63 Madison Avenue, at the northeast corner of Twenty-seventh Street, for Welibrock & Thomforde to the Canton Silk Mill” (December 17, 1919, 23).

217. Boulton, Part of a Long Story, 109.

218. “A Eugene O’Neill Miscellany,” New York Sun, January 12, 1928, 31.

219. “‘Sixty’ Is Dead; Long Live Polly’s! Greenwich Villagers Preparing to Give New Year Hot Welcome Dance,” New York Tribune, December 30, 1915, 3.

220. Djuna Barnes, “The Days of Jig Cook: Recollections of Ancient Theatre History But Ten Years Old,” Theatre Guild Magazine, January 1929, 32.

221. O’Neill, Selected Letters, 59, 65.

222. Mary Heaton Vorse, “Eugene O’Neill’s Pet Saloon Is Gone,” New York World, May 4, 1930, M7; Luther S. Harris, Around Washington Square: An Illustrated History of Greenwich Village (Baltimore: Johns Hopkins University Press, 2003), 194.

223. Vorse, “Eugene O’Neill’s Pet Saloon,” M7.

224. Mary Heaton Vorse, Time and the Town: A Provincetown Chronicle (1942), ed. Adele Heller (New Brunswick, N.J.: Rutgers University Press, 1991), 122; verse, “Eugene O’Neill’s Pet Saloon,” M7; Boulton, Part of a Long Story, 115; “Solemn Sightseers Stroll in Waldorf,” New York Times, March 30, 1929.

225. “Sight of Revolver, Held by Policeman, Halts Gang Killing,” New York Evening World, June 15, 1915, 5; “Gangster Outwitted by Two Detectives,” New York Evening World, January 15, 1915, 4; Boulton, Part of a Long Story, 217.

226. Harry Golden, “Only in America,” Amsterdam Recorder, June 13, 1969, 4; Vorse, “Eugene O’Neill’s Pet Saloon.”

227. Gelb and Gelb, Life with Monte Cristo, 523–24; O’Neill, Selected Letters, 547.

228. Quoted in Sheaffer, Son and Playwright, 214; Hutchins Hapgood, “Memories of a Determined Drinker; or, Forty Years of Drink” (1932), MS, Hapgood Family Papers, Beinecke Library; Boulton, Part of a Long Story, 254.

229. O’Neill, Selected Letters, 73.

230. Hutchins Hapgood, “The Case of Terry,” Revolt, February 19, 1916, 6.

231. O’Neill, Selected Letters, 100.

232. Hapgood, “The Case of Terry,” 6.

233. Oliver M. Sayler, “From Play at Provincetown to Work in New York and All for Native Drama Past, Present, and Future of a Brave and Fruitful Adventure” (1921), in Edna Kenton, The Provincetown Players and the Playwrights’ Theatre, 1915–1922, ed. Travis Bogard and Jackson R. Bryer (Jefferson, N.C.: McFarland, 2004), 192.

ACT II: “To Be an Artist or Nothing”

Notes to pp. 123–24: “Now that I look back” (Louis Sheaffer, Son and Playwright [Boston: Little, Brown, 1968], 204); “the closed-shop, star-system, amusement racket” (Eugene O’Neill, “An Open Letter on the Death of George Pierce Baker” (January 7, 1935), in The Unknown O’Neill: Unpublished and Unfamiliar Writings of Eugene O’Neill, ed. Travis Bogard [New Haven: Yale University Press, 1988], 420); “aimed at and almost succeeded … their henchmen” (quoted in Candace Barrington, American Chaucers [New York: Palgrave Macmillan, 2007], 47); “to establish a stage where” (Edna Kenton, The Provincetown Players and the Playwrights’ Theatre, 1915–1922, ed. Travis Bogard and Jackson R. Bryer [Jefferson, N.C.: McFarland, 2004], 72).

1. Leona Rust Egan, Provincetown as a Stage (Orleans, Mass.: Parnassus, 1994), 151.

2. Wainwright J. Wainwright, Provincetown in Picture and Story (Cotiut, Mass.: Picture Book, 1953), 4; Mary Heaton Vorse, Time and the Town: A Provincetown Chronicle (1942), ed. Adele Heller (New Brunswick, N.J.: Rutgers University Press, 1991), 147, opp. p. 126.

3. The fact that O’Neill and Carlin occupied a sailmaker’s loft next to Francis’s Flats is mentioned with confidence in a letter from actress Kyra Markham to Louis Sheaffer, September 6, 1962 (photocopy), private collection of Jackson R. Bryer. The link between O’Neill and Boyesen with Provincetown has been given no attention to date, possibly because he was a political figure rather than a theatrical or literary one.

4. Quoted in George Monteiro, “John Francis, Go-between for Provincetown and the Players,” Laconics 1 (2006), http://www.eoneill.com/library/laconics/1/1f.htm.

5. Ernest L. Meyer, “The First Patron of Eugene O’Neill,” Column Review 5, no. 2 (1937): 2.

6. Ibid., 2–3.

7. Quoted in Monteiro, “John Francis.”

8. Quoted in ibid.

9. On the importance of Neith Boyce’s role in founding the Players, see Jeff Kennedy, “Probing Legends in Bohemia: The Symbiotic Dance between O’Neill and the Provincetown Players,” in Eugene O’Neill and His Early Contemporaries: Bohemians, Radicals, Progressives, and the Avant Garde, ed. Eileen Herrmann and Robert M. Dowling (Jefferson, N.C.: McFarland, 2011), 163–64, as well as The Modern World of Neith Boyce: Autobiography and Diaries, ed. Carol DeBoer-Langworthy (Albuquerque: University of New Mexico Press, 2003).

10. Egan, Provincetown as a Stage, 14; Linda Ben-Zvi, Susan Glaspell: Her Life and Times (New York: Oxford University Press, 2005), 162; Mary Heaton Vorse vastly overstated the dimensions of the fish house in her chronicle of the Players. The figures I use here are taken from Robert Karoly Sarlós’s careful estimations in his Jig Cook and the Provincetown Players (Boston: University of Massachusetts Press, 1982), 201; Vorse, Time and the Town, 118; Sartós, Jig Cook and the Provincetown Players, 67.

11. Susan Glaspell, The Road to the Temple (New York: Frederick A. Stokes, 1927), 253. In her record of this encounter, Glaspell goes on to say that she invited O’Neill and Carlin to their house that night, where the actor Frederick Burt read them Bound East for Cardiff. This is an inaccurate chronology of events, as it was The Movie Man O’Neill first read to the Players, and it was at Reed and Bryant’s house, not Glaspell and Cook’s. Deliberately or not, this inaccurate tale places Glaspell and Cook even more centrally in the legend of O’Neill’s discovery. When Glaspell’s book came out in 1927, O’Neill must have been delighted that his first disastrous night with the Players was, if only temporarily, struck from the historical record.

12. George Frame Brown, interview by Louis Sheaffer, undated, Sheaffer-O’Neill Collection, Linda Lear Center for Special Collections and Archives, Connecticut College, New London. The fact that O’Neill brought a copy of Thirst is recorded in Harry Kemp, “George Cram Cook and the Provincetown Players,” Lorelei 1 (August 1924): 29–30.

13. Hutchins Hapgood to Mabel Dodge, July 1, 1916, Yale Collection of American Literature, Beinecke Library, Yale University, New Haven.

14. Bernard Holm[illegible], “Irish Players Rebel and May Quit Abbey,” New York Review, July 1, 1916, 1. They did not, in the end, “collapse” once Ervine resigned. There’s a Yeats letter pertaining to Ervine’s resignation in the Henry W. and Albert A. Berg Collection of English and American Literature, New York Public Library. The dispute revolved around a leading lady named Marie O’Neill who felt she needed more time for rehearsals. Ervine demanded they rehearse twice a day. The Abbey Players were in no mood to oblige and walked out on him.

15. Egan, Provincetown as a Stage, xi. See Linda Ben-Zvi, “The Provincetown Players: The Success That Failed,” Eugene O’Neill Review 27 (2005): 15; Cheryl Black, “Pioneering Theatre Managers: Edna Kenton and Eleanor Fitzgerald of the Provincetown Players,” Journal of American Drama and Theatre 9 (Fall 1997): 58; George Cram Cook, “The Way of the Group,” Little Theatre Review, November 18, 1920. See also George Cram Cook, [The Emperor Jones, by Eugene O’Neill], [1920], p. 3, unsigned MS, Henry W. and Albert A. Berg Collection of English and American Literature, New York Public Library, New York; Doris Alexander, Eugene O’Neill’s Last Plays: Separating Art from Autobiography (Athens: University of Georgia Press, 2005), 119.

16. Vorse, Time and the Town, 122; Max Eastman, Enjoyment of Living (New York: Harper, 1948), 564–65.

17. Marsden Hartley, “The Great Provincetown Summer,” MS, Yale Collection of American Literature.

18. Eastman, Enjoyment of Living, 565; Louise Bryant, “Christmas in Petrograd 1917,” corrected TS, n.d., p. 7, Granville Hicks Papers, Special Collections Research Center, Syracuse University Libraries, Syracuse, N.Y.

19. Bryant, “Christmas in Petrograd 1917.”

20. This is according to Susan Glaspell, Mary Heaton Vorse, Harry Kemp, Marsden Hartley, and other Provincetown Players in their reminiscences.

21. Egan, Provincetown as a Stage, 203; Marsden Hartley, “Farewell, Charles,” in The New Caravan, ed. Alfred Kreymborg, Lewis Mumford, and Paul Rosenfeld (New York: Norton, 1936), 556; Mary V. Dearborn, Queen of Bohemia: The Life of Louise Bryant (Boston: Houghton Mifflin, 1996), 53.

22. Agnes Boulton, Part of a Long Story: “Eugene O’Neill as a Young Man in Love,” ed. William Davies King (Jefferson, N.C.: McFarland, 2011), 162; Louis Sheaffer, Son and Playwright (Boston: Little, Brown, 1968), 338; Susan Glaspell, undated entry in notebook dated October 16, 1915, p. 20, Susan Glaspell Collection, Clifton Waller Barrett Library of American Literature, Albert and Shirley Small Special Collections Library, University of Virginia, Charlottesville.

23. See Robert M. Dowling, “‘The Screenews of War’: A Previously Unpublished Short Story by Eugene O’Neill,” Resources for American Literary Study 31 (Fall 2007): 174.

24. This bizarre incident has been dramatized as And Starring Pancho Villa as Himself (2003), with Antonio Banderas as Pancho Villa and Matt Day as John Reed.

25. Quoted in Friedrich Katz, The Life and Times of Pancho Villa (Stanford, Calif.: Stanford University Press, 1998), 324.

26. Gary Jay Williams identifies the date as most likely July 17 (Gary Jay Williams, “Turned Down in Provincetown: O’Neill’s Debut Re-Examined,” Theatre Journal 37, no. 2 [1985]: 158).

27. Brenda Murphy, The Provincetown Players and the Culture of Modernity (Cambridge: Cambridge University Press, 2005), 95; Glaspell, Road to the Temple, 254.

28. Adele Nathan, “‘Eugene G. O’Neill’: 1916,” New York Times, October 6, 1946, SM18; Williams, “Turned Down in Provincetown,” 161.

29. Vorse, Time and the Town, 116–17.

30. Eastman, Enjoyment of Living, 566.

31. Ibid.

32. Harry Kemp, “O’Neill of Provincetown,” Brentano’s Book Chat, May–June 1929, 45–47.

33. Harry Kemp, “Out of Provincetown: A Memoir of Eugene O’Neill” (1930), in Conversations with Eugene O’Neill, ed. Mark W. Estrin (Jackson: University Press of Mississippi, 1990), 97.

34. Edmund Wilson, The Twenties: From Notebooks and Diaries of the Period, ed. Leon Edel (New York: Farrar, Straus and Giroux, 1975), 110–12, 400.

35. Hutchins Hapgood, “Memories of a Determined Drinker; or, Forty Years of Drink” (1932), MS, Hapgood Family Papers, Beinecke Library.

36. Quoted in Barrett H. Clark, Eugene O’Neill: The Man and His Plays, rev. ed. (New York: Dover, 1947), 31.

37. Hutchins Hapgood, A Victorian in the Modern World (New York: Harcourt, Brace, 1939), 397.

38. Ben-Zvi, Susan Glaspell, 169.

39. Boulton, Part of a Long Story, 133; Kemp, “Out of Provincetown,” 96–97.

40. Mabel Dodge Luhan, Intimate Memories: Movers and Shakers (New York: Harcourt, Brace and Company, 1936), 484.

41. Hapgood, “Memories.”

42. Ibid., 69.

43. Vorse, Time and the Town, 122.

44. Quoted in Sheaffer, Son and Playwright, 388.

45. Quoted in “The Provincetown Players: A Theatrical Workshop for Acting Playwrights and Play-Writing Actors,” Current Opinion 61 (July–December 1916): 323.

46. Paul Roazen, “O’Neill and Louise Bryant: New Documents,” Eugene O’Neill Review 27 (2005): 39n1; and Stephen A. Black, Eugene O’Neill: Beyond Mourning and Tragedy (New Haven: Yale University Press, 1999), 202–3.

47. Brenda Murphy argues that rather than O’Neill and Bryant’s affair, The Eternal Quadrangle more directly corresponds to Reed’s passionate affair with Mabel Dodge, apparently conducted with the blessing of her wealthy husband, Edwin Dodge. See Murphy, Provincetown Players, 61–64.

48. O’Neill is wearing the same sweater, the same wisp of hair over his forehead. His knees are in the same position.

49. I would like to thank Professors Jackson R. Bryer and Patrick Chura for their input on the photograph. Thanks also to the artist Michael J. Peery for acting as a proxy for facial recognition software in the first stages of authentication. I realized that this photograph, which was wrongly identified at the Berg as being O’Neill and Elaine Freeman, was O’Neill and Bryant on January 18, 2013.

50. Dearborn, Queen of Bohemia, 53.

51. The complete poem can be found in Roazen, “O’Neill and Louise Bryant,” 31.

52. Quoted in Murphy, Provincetown Players, 95.

53. Quoted in Dearborn, Queen of Bohemia, 53.

54. Quoted in Murphy, Provincetown Players, 95.

55. Quoted in Dearborn, Queen of Bohemia, 53.

56. Quoted ibid., 54.

57. Arthur Gelb and Barbara Gelb, O’Neill: Life with Monte Cristo (New York: Applause, 2000), 573.

58. Quoted in ibid., 562.

59. Quoted in “Provincetown Players,” 323.

60. Quoted in Kenton, Provincetown Players, 25.

61. O’Neill destroyed the revised version of The Movie Man, but I found the surviving copy of the short story and published it in 2007. See Dowling, “‘The Screenews of War.’”

62. Louis Sheaffer specifies that the visit lasted only “a few days” (Son and Playwright, 360). Whether that count is accurate is unclear; regardless, it was a long enough stay for Jessica Rippin to recall his and Bryant’s visit and for him to have written a story for which the plot had already been outlined in dramatic form; Dearborn, Queen of Bohemia, 65.

63. Sheaffer, Son and Playwright, 360.

64. Kenton, Provincetown Players, 59.

65. Barney Gallant to Louis Sheaffer, November 13, 1957 (photocopy), private collection of Jackson R. Bryer.

66. Quoted in Sheaffer, Son and Playwright, 371.

67. Clayton [Meeker] Hamilton, “Eugene G. O’Neill,” Ninth Lecture at Columbia University, April 7, 1924, in Conversations on Contemporary Drama (New York: Macmillan, 1925), 206.

68. James Light, interview by Louis Sheaffer, October 17, 1960, Sheaffer-O’Neill Collection.

69. Kenton, Provincetown Players, 41; Anna Alice Chapin, Greenwich Village (New York: Dodd, Mead, 1920), 226. The Samovar closed when Nani Bailey signed on as a nurse and went overseas during World War I; she died in France (Kenton, Provincetown Players, 42).

70. Mary Heaton Vorse, “Eugene O’Neill’s Pet Saloon Is Gone,” New York World, May 4, 1930, M7.

71. Sarlós, Jig Cook and the Provincetown Players, 80; George Cram Cook to Susan Glaspell, December 23, 1916, copy, Sheaffer-O’Neill Collection.

72. Quoted in Sheaffer, Son and Playwright, 240.

73. Travis Bogard, Contour in Time: The Plays of Eugene O’Neill, rev. ed. (New York: Oxford University Press, 1988), 79; Gelb and Gelb, Life with Monte Cristo, 589; “O’Neill as an Actor is Recalled by One Who Saw Him in ’17,” New York Herald Tribune, March 17, 1929, sec. 7, 5.

74. Quoted in Gelb and Gelb, Life with Monte Cristo, 588.

75. William Carlos Williams to Louis Sheaffer, n.d., Sheaffer-O’Neill Collection.

76. Hapgood, Victorian, 399.

77. Dearborn, Queen of Bohemia, 65; see Alexander, Eugene O’Neill’s Last Plays, 122, 127. For the correct date of Ella’s mastectomy, see Sheaffer, Son and Playwright, 502n.

78. Patrick Chura, “Bryant, Louise,” in Critical Companion to Eugene O’Neill: A Literary Reference to His Life and Work, ed. Robert M. Dowling (New York: Facts on File, 2009), 2:540; Dearborn, Queen of Bohemia, 60–61.

79. Gelb and Gelb, Life with Monte Cristo, 598–99; Kenton, Provincetown Players, 51. The other two plays on the “war bill” were Ivan’s Homecoming by Irwin Granich (Mike Gold) and Barbarisms by Rita Wellman.

80. Nina Moise, “A Note to Edna Kenton about the Provincetown Players,” in Kenton, Provincetown Players, 181.

81. William Davies King, Another Part of a Long Story: Literary Traces of Eugene O’Neill and Agnes Boulton (Ann Arbor: University of Michigan Press, 2010), 120. (Harold de Polo signed his name with two words and a lowercase “d,” though he is mostly referred to in previous scholarship with the spelling “DePolo.”)

82. Sheaffer, Son and Playwright, 380; Charles A. Merrill, “Eugene O’Neill, World-Famous Dramatist, and Family Live in Abandoned Coast Guard Station on Cape Cod” (1923), in Estrin, Conversations with Eugene O’Neill, 43; [untitled], Provincetown Advocate, March 28, 1917; Boulton, Part of a Long Story, 154.

83. Vorse, Time and the Town, 131.

84. Sheaffer, Son and Playwright, 381.

85. Virginia Floyd, ed., Eugene O’Neill at Work: Newly Released Ideas for His Plays (New York: Frederick Ungar, 1981), 305.

86. Robert A. Richter, Eugene O’Neill and Dat Ole Davil Sea: Maritime Influences in the Life and Works of Eugene O’Neill (Mystic, Conn.: Mystic Seaport, 2004). Quoted in Sheaffer, Son and Playwright, 395.

87. Bryant, “Christmas in Petrograd 1917”; Dearborn, Queen of Bohemia, 65, 67.

88. Eugene O’Neill, Selected Letters of Eugene O’Neill, ed. Travis Bogard and Jackson R. Bryer (New Haven: Yale University Press, 1988), 80.

89. Sheaffer, Son and Playwright, 392; O’Neill, Selected Letters, 79; Bryant, “Christmas in Petrograd 1917”; O’Neill, Selected Letters, 78.

90. Eugene O’Neill to Elaine Freeman, September 1917, Henry W. and Albert A. Berg Collection of English and American Literature; Boulton, Part of a Long Story, 128.

91. Mabel Collins, Light on the Path (1885) (Pasadena, Calif.: Theosophical University Press Online, n.d.), http://www.theosociety.org/pasadena/lightpat/lightpat.htm. See also J. Shantz, “Carlin, Terry,” in Dowling, Critical Companion to Eugene O’Neill, 2:543–44. O’Neill frequently misspelled “it’s” for “its,” which leads me to believe after seeing a photograph of the rafters that he was the one who painted these words.

92. Eugene O’Neill to Elaine Freeman, September 19, 1917, and September [no day], 1917, Henry W. and Albert A. Berg Collection of English and American Literature.

93. Charles Demuth, Letters of Charles Demuth, American Artist, 1883–1935, ed. Bruce Kellner (Philadelphia: Temple University Press, 2000), 26; Eugene O’Neill to Elaine Freeman, September [no day], 1917; Sheaffer, Son and Playwright, 410; Roazen, “O’Neill and Louise Bryant,” 34.

94. Dearborn, Queen of Bohemia, 74; Roazen, “O’Neill and Louise Bryant,” 38.

95. The depth of her relationship with O’Neill remains a mystery, though a Catholic friend of hers late in life, the novelist Joseph Dever, reported, significantly while they were still in communication, “It is fairly well known that, as a budding young dramatist, Gene O’Neill was the lover of the then Bohemian, but now austere and saintly Dorothy Day” (Joseph Dever, Cushing of Boston: A Candid Portrait [Boston: Bruce Humphries, 1965], 282).

96. Dorothy Day, “Told in Context,” ca. 1958, Dorothy Day Papers, series D-3, box 7, file 2, Special Collections and University Archives, Raynor Memorial Libraries, Marquette University, Milwaukee, Wis.; Dorothy Day, interview by Louis Sheaffer, n.d., Sheaffer-O’Neill Collection.

97. Dorothy Day, The Long Loneliness: The Autobiography of Dorothy Day (New York: Harper, 1952), 84. See also Eileen J. Herrmann, “Saints and Hounds: Modernism’s Pursuit of Dorothy Day and O’Neill,” in Herrmann and Dowling, Eugene O’Neill and His Early Contemporaries, 210–33.

98. Dorothy Day, interview by Sheaffer.

99. Day, Long Loneliness, 84.

100. Ibid., 84; Day, “Told in Context.”

101. Day, “Told in Context”; Dorothy Day, interview by Sheaffer.

102. Dorothy Day, interview by Sheaffer.

103. Day, “Told in Context”; Maxwell Bodenheim, “Eugene O’Neill: Portrayed in Bold Relief,” Lorelei 1 (August 1924): 14.

104. Kenton, Provincetown Players, 73.

105. “Who Is Eugene O’Neill?” New York Times, November 4, 1917, 7; Lewis Sherwin, “The Theatre: The Washington Square Players at the Comedy,” New York Globe and Commercial Advertiser, November 1, 1917, 14.

106. O’Neill, Selected Letters, 89.

107. Black, Eugene O’Neill, 201.

108. “James Light Dies; O’Neill Associate,” New York Times, February 12, 1964; “Who’s Who,” New York Times, February 8, 1925, sec. X, 2.

109. Ralph Block, “The Provincetown Players Reopen in Macdougal Street,” New York Tribune, November 3, 1917, 13; “New Plays in New York: Eugene O’Neill, Notable Young Playwright,” Boston Evening Transcript, November 8, 1917, 16; Kenton, Provincetown Players, 63; Hamilton, “Eugene G. O’Neill,” 211–12; “Village Players Present Best Bill,” Journal of Commerce and Commercial Bulletin, April 22, 1918, 9.

110. Eugene O’Neill to Maxwell Bodenheim, July 5, 1923, Sheaffer-O’Neill Collection.

111. Roazen, “O’Neill and Louise Bryant,” 35, 37, 38. The word “romance” is likely but questioned by Roazen in brackets (35).

112. King, Another Part of a Long Story, 6.

113. Ibid., 67; Boulton, Part of a Long Story, 16.

114. Boulton, Part of a Long Story, 19; King, Another Part of a Long Story, 67.

115. Boulton, Part of a Long Story, 29, 21.

116. Ibid., 27, 31, 67.

117. Ibid., 76. The italics are Boulton’s.

118. Virginia Gardner, “Friend and Lover”: The Life of Louise Bryant (New York: Horizon, 1982), 129.

119. Roazen, “O’Neill and Louise Bryant,” 36.

120. Boulton, Part of a Long Story, 60, 61, 57.

121. Sheaffer, Son and Playwright, 408.

122. Boulton, Part of a Long Story, 76.

123. Ibid., 77.

124. Ibid., 78, 38.

125. For a list of differing accounts, see Sheaffer, Son and Playwright, 410. Dorothy Day said it was the waiter, and I believe her account is the most credible.

126. Boulton, Part of a Long Story, 79.

127. Carlotta Monterey Diary, September 24, 1944, O’Neill Papers, Beinecke Library, Yale University, New Haven.

128. Ibid., 80.

129. Ibid., 81.

130. Roazen, “O’Neill and Louise Bryant,” 38, 37. O’Neill wrote Bryant a series of final letters that her second husband, William C. Bullitt, later claimed Bryant had burned. Scholar Paul Roazen brought them to light in 2004, however, after Bullitt’s papers were gifted to Yale University by Bryant and Bullitt’s daughter Anne (30).

131. Quoted in Patrick Chura, “O’Neill’s Strange Interlude and the ‘Strange Marriage’ of Louise Bryant,” Eugene O’Neill Review 30 (2008): 8–9.

132. Roazen, “O’Neill and Louise Bryant,” 38.

133. Boulton, Part of a Long Story, 85.

134. Sheaffer, Son and Playwright, 375.

135. Ibid. O’Neill took The Rope from a scenario entitled “The Reckoning.” In 1924, Boulton and O’Neill later expanded this idea together into a four-act play, “The Guilty One,” which was never published or produced.

136. O’Neill, Selected Letters, 81.

137. Ibid., 82.

138. Boulton, Part of a Long Story, 91, 96n12.

139. Kathleen O’Neill v. Eugene G. O’Neill, County Clerk’s Index #1673, Supreme Court, Westchester County, Westchester County Clerk’s Office, White Plains, N.Y., 1912. The earlier “Interlocutory Judgment” of July 5, signed by Judge Joseph Morschauser, stipulated that O’Neill could remarry but only “by express permission of this court.”

140. An incomplete file, which includes the judge’s order, is in O’Neill’s papers at the Beinecke Library.

141. Boulton, Part of a Long Story, 167; Sheaffer, Son and Playwright, 145; Louis Sheaffer, O’Neill: Son and Artist (Boston: Little, Brown, 1973), 66; Sheaffer, Son and Playwright, 145.

142. It’s likely that O’Neill received another inspiration from the boy: the name of his character Larry Slade in The Iceman Cometh.

143. Croswell Bowen, “The Black Irishman” (1946), in O’Neill and His Plays: Four Decades of Criticism, ed. Oscar Cargill, N. Bryllion Fagin, and William J. Fisher (New York: New York University Press, 1961), 74.

144. Quoted in Clark, Eugene O’Neill, 66.

145. Quoted in “A Letter from O’Neill,” New York Times, April 11, 1920.

146. Quoted in Sheaffer, Son and Playwright, 422.

147. Boulton, Part of a Long Story, 111, 96.

148. Ibid., 113.

149. Ibid., 116.

150. Agnes Boulton misquotes the lines from Light on the Path on p. 118 of her memoir, Part of a Long Story, and she could not remember the source.

151. Ibid., 149.

152. Quoted in Ben-Zvi, Susan Glaspell, 205.

153. Quoted in Virginia Floyd, The Plays of Eugene O’Neill: A New Assessment (New York: Frederick Ungar, 1985), 154.

154. Roazen, “O’Neill and Louise Bryant,” 36.

155. King, Another Part of a Long Story, 252n24.

156. Harold de Polo to Henry W. Wenning, February 2, 1960, p. 1, Clifton Waller Barrett Library of American Literature.

157. Ibid.

158. Eugene O’Neill to Sidney Howard, September 27, 1936, and November 26, 1936, Sidney Coe Howard Papers, Bancroft Library, University of California, Berkeley.

159. Harold de Polo, MS, “The Screenews of War,” January 30, 1960, Clifton Waller Barrett Library of American Literature.

160. Boulton, Part of a Long Story, 163, 191, 161n.

161. Ibid., 153.

162. A Theatre for America: Concerning the Provincetown Playhouse, That Famous Little Theatre, Which Has Given Americans the Best of American Drama and Many Noted Stage Personalities (New York: Provincetown Playhouse Guild Association, ca. 1934), 1 (ten-page pamphlet at the Clifton Waller Barrett Library of American Literature); Eleanor M. Fitzgerald, “Valedictory of an Art Theatre,” New York Times, December 22, 1929, in Kenton, Provincetown Players, 198; Jeff Kennedy, “Provincetown Playhouse, The (Playwrights’ Theatre),” in Dowling, Critical Companion to Eugene O’Neill, 2:715.

163. Quoted by Gilbert Seldes, “Radio and Television in the Courtroom,” September 7, 1954, The Lively Arts, WNYC, WNYC archives id.: 71485, New York City Municipal archives id.: LT3109, http://www.wnyc.org/shows/lively-arts-the/1954/sep/.

164. Kenton, Provincetown Players, 81.

165. W. Livingston Larned, “Below Washington Square,” New York Review, November 25, 1916, 4. In this article, one of Larned’s associates in the Village is a young man who “paints backgrounds in figure compositions for a large publishing house”; this is most likely Donald Corley, the Provincetown Player who painted “Here Pegasus Was Hitched” and worked, among other jobs, as a pattern maker. Corley later designed camouflage for soldiers’ uniforms during World War I; Larned became a minor celebrity for his short piece of parenting advice, “Father Forgets,” which was widely circulated, translated into many languages, and eventually reprinted in Dale Carnegie’s 1936 best seller How to Win Friends and Influence People.

166. Boulton, Part of a Long Story, 198; Kennedy, “Provincetown Playhouse,” 2: 715. Helen Deutsch and Stella Hanau, The Provincetown: A Story of the Theatre (New York: Farrar and Rinehart, 1931), 43.

167. See note 78, above. Boulton, Part of a Long Story, 186–88.

168. Kenton, Provincetown Players, 82.

169. Ibid., 83, 82.

170. Quoted in Bogard, Contour in Time, 103.

171. Heywood Broun, “Drama,” New York Tribune, November 25, 1918, 9.

172. Quoted in Clark, Eugene O’Neill, 63.

173. The following spring, 1919, the play appeared in O’Neill’s second book, “The Moon of the Caribbees” and Six Other Plays of the Sea.

174. Quoted in Nancy Milford, Savage Beauty: The Life of Edna St. Vincent Millay (New York: Random House, 2002), 176. This is also mentioned in a letter from Kyra Markham to Louis Sheaffer, September 6, 1962 (photocopy), private collection of Jackson R. Bryer.

175. Sheaffer, Son and Playwright, 395; “Greenwich Village Sees New Dramas a la Provincetown,” New York Herald, December 21, 1918, 8; David Karsner, “Eugene O’Neill at Close Range in Maine,” New York Herald Tribune, August 8, 1926, sec. 8, 6.

176. Boulton, Part of a Long Story, 237n31, 229.

177. Ibid., 232.

178. Ibid., 224.

179. Stark Young, interview by Louis Sheaffer, n.d., Sheaffer-O’Neill Collection.

180. Quoted in King, Another Part of a Long Story, 102.

181. O’Neill, Selected Letters, 90, 137.

182. Pierre Loving, “Eugene O’Neill,” Bookman, August 1921, 511.

183. Initially, O’Neill spelled his name Christophersen with an “e,” indicating Danish rather than Swedish heritage, but later corrected the mistake.

184. Quoted in Hamilton Basso, “The Tragic Sense—II,” New Yorker, March 6, 1948, 38.

185. Alexander, Eugene O’Neill’s Last Plays, 21.

186. Boulton, Part of a Long Story, 254–57.

187. O’Neill’s work diaries indicate that he wrote this play at the end of 1919 in a “Rented House, Provincetown” (Floyd, Eugene O’Neill at Work, 390).

188. Eugene O’Neill, Exorcism: A Play in One Act (1919) (New Haven: Yale University Press, 2012), 55.

189. Quoted in Sheaffer, Son and Playwright, 4.

190. Kenneth Macgowan, “The New Plays: The Provincetown Players, Reopening, Present One Real Oddity in Their New Bill,” New York Globe and Commercial Advertiser, November 3, 1919, 12.

191. O’Neill, Selected Letters, 97.

192. William Davies King, ed., “A Wind Is Rising”: The Correspondence of Agnes Boulton and Eugene O’Neill (Madison, N.J.: Fairleigh Dickinson University Press, 2000), 115; O’Neill, Selected Letters, 151.

193. O’Neill, Selected Letters, 103.

194. Ibid., 98, 205.

195. Ibid., 99, 98.

196. “Three Are Held in the Fake Rum Sale,” New York Sun, December 29, 1919, 4; “61 Are Dead from Poison Whiskey Made in New York,” Brooklyn Daily Eagle, December 28, 1919, 1.

197. O’Neill, Selected Letters, 105; King, “A Wind Is Rising,” 78; O’Neill, Selected Letters, 106.

198. O’Neill, Selected Letters, 99, 100.

199. Ibid., 105.

200. Eugene O’Neill, [untitled poem] (1919), in Poems, 1912–1944, ed. Donald Gallup (New Haven: Ticknor and Fields, 1980), 92. In their note on this poem in O’Neill, Selected Letters, Bogard and Bryer identify it as written on the morning of January 17, 1920. The date in Gallup reads “September 1919,” but it was added in pencil “in an unidentified hand.” In fact, Agnes Boulton quotes the poem in her memoir (Part of a Long Story, 260–61) and says O’Neill sent it to her in September while she was pregnant with Shane at Happy Home. I believe Bogard and Bryer are correct and that Agnes or someone else added the date to match her memoir, possibly to protect him from the above story or from Exorcism, the likely gift to her that goes unmentioned in her memoirs.

201. O’Neill, Selected Letters, 109, 108.

202. King, “A Wind Is Rising,” 91.

203. O’Neill, Selected Letters, 111.

204. Yonkers Statesman, January 27, 1920, 3; “Beyond the Horizon,” Yonkers Statesman, February 3, 1920, 5.

205. O’Neill, Selected Letters, 112; Sheaffer, Son and Artist, 477.

206. King, “A Wind Is Rising,” 96 (of course, this wire was all in capital letters and used no italics or punctuation), 95, 96, 128.

207. O’Neill, Selected Letters, 112; Alexander Woollcott, “The Play: Eugene O’Neill’s Tragedy,” New York Times, February 4, 1920, 12; O’Neill, Selected Letters, 119.

208. Philip Mindil, “Behind the Scenes” (1920), in Estrin, Conversations with Eugene O’Neill, 5; O’Neill, Selected Letters, 129n1, 130.

209. King, “A Wind Is Rising,” 95, 90n2; O’Neill, Selected Letters, 108.

210. King, “A Wind Is Rising,” 120; Basso, “The Tragic Sense—II,” 35; O’Neill, Selected Letters, 137.

211. St. John Ervine to Eugene O’Neill, February 18, 1920, Eugene O’Neill Papers, Beinecke Library. O’Neill misquotes Ervine in a letter to Boulton; see King, “A Wind Is Rising,” 123. Much later, in 1948, St. John Ervine wrote an eviscerating anonymous review in England of The Iceman Cometh titled “Counsels of Despair,” in which he declaimed that “all of [O’Neill’s] plays are contemptuous of people and denunciatory of human existence.” [St. John Ervine] (1948), in Cargill, Fagin, and Fisher, O’Neill and His Plays, 369.

212. King, “A Wind Is Rising,” 123.

213. Alta May Coleman, “Personality Portraits: No. 3, Eugene O’Neill,” Theatre Magazine, April 1920, 264, 302.

214. King, “A Wind Is Rising,” 116, 118; O’Neill, Selected Letters, 118.

215. O’Neill, Selected Letters, 143.

216. Ibid., 128, 120, 121.

217. Ibid., 103. O’Neill wrote Boulton in early December that he was going down to Macdougal Street “to submit my play.” The unnamed play in question is Exorcism.

218. Kenton, Provincetown Players, 117. This subtitle does not appear on the surviving manuscript.

219. Jeff Kennedy, “Exorcism: The Context, the Critics, the Creation, and Rediscovery,” Eugene O’Neill Review 34, no. 1 (2013): 28–38.

220. Jasper Deeter, interview by Louis Sheaffer, November 10, 1962, Sheaffer-O’Neill Collection. See also Robert M. Dowling, “Eugene O’Neill’s Exorcism: The Lost Prequel to Long Day’s Journey Into Night,” Eugene O’Neill Review 34, no. 1 (2013): 1–12.

221. In the process of collecting all extant contemporary reviews for our volume Eugene O’Neill: The Contemporary Reviews (New York: Cambridge University Press, 2014), my coeditor Jackson R. Bryer and I found a total of five for Exorcism, the New York Clipper, the Quill, the New York Tribune, Variety, and the New York Times.

222. Quoted in Sheaffer, Son and Artist, 12.

223. King, “A Wind Is Rising,” 118, 103, 113.

224. O’Neill, Selected Letters, 555.

225. Hamlin Garland, Selected Letters of Hamlin Garland, ed. Keith Newlin and Joseph B. McCullough (Lincoln: University of Nebraska Press, 1998), 349, 277, 278.

226. Light, interview by Sheaffer, March 26, 1959.

227. Hamilton, “Eugene G. O’Neill,” 209, 205.

228. O’Neill, Selected Letters, 131, 132, 143.

229. Sheaffer, Son and Artist, 23–24.

230. King, “A Wind Is Rising,” 117.

231. Boulton, Part of a Long Story, 132, 131.

232. Hazel Hawthorne Werner, “Recollections,” n.d., TS, Sheaffer-O’Neill Collection.

233. Clark, Eugene O’Neill, 72; Gelb and Gelb, Life with Monte Cristo, 532.

234. Cornel West refers to this as an “unmasking of civilization. “Cornel West Commentary: The Plays of Eugene O’Neill,” The Tavis Smiley Show, November 26, 2003, NPR, http://www.npr.org/templates/story/story.php?storyId=1522880.

235. The Emperor Jones was the first successful example of American expressionism. Scholar Keith Newlin credits Dreiser’s Laughing Gas as the first expressionistic play ever produced in the United States. See Keith Newlin, “Expressionism Takes the Stage: Dreiser’s ‘Laughing Gas,’” Journal of American Drama 4 (Winter 1992): 5–22.

236. James Light, “The Parade of Masks,” undated, T-Mss 2001-050, Billy Rose Theatre Division, New York Public Library, New York.

237. See Robert M. Dowling, “On Eugene O’Neill’s ‘Philosophical Anarchism,’” Eugene O’Neill Review 29 (Spring 2007): 50–72.

238. Max Stirner, The Ego and His Own: The Case of the Individual Against Authority (1844), trans. Steven T. Byington (New York: Benjamin R. Tucker, 1907), 65, 153; emphasis added.

239. Eugene O’Neill, “The Silver Bullet,” MS, Eugene O’Neill Collection, Manuscripts Division, Department of Rare Books and Special Collection, Princeton University Library, Princeton, N.J.

240. King, “A Wind Is Rising,” 73, 117, 124, 127.

241. O’Neill, Selected Letters, 206; “Eugene O’Neill Talks of His Own and the Plays of Others,” New York Herald Tribune, November 16, 1924, sec. 7–8, 14.

242. Dudley Murphy, who wrote the film script, specifies that it takes place “on the island of Haiti” (“The Emperor Jones” by Eugene O’Neill, Film Treatment, by Dudley Murphy, ca. 1929, p. 4, Clifton Waller Barrett Library of American Literature). Furthermore, to identify the island as Haiti in that political climate would have been damaging to his career, perhaps even dangerous. “We played Christophe,” DuBose Heyward told O’Neill, after writing the 1933 film script, “as close as we dared” (DuBose Heyward to Eugene O’Neill, July 29, 1933 [photocopy], private collection of Jackson R. Bryer). The actor James Earl Jones, who decades later, in 1964, played Brutus Jones, points out that it might have been safer for O’Neill to attack capitalism over imperialism, even at the height of the Red Scare in 1920: “If O’Neill set out to write a straight play about a deposed dictator from a Caribbean island, like Haiti, it might never have been produced. … Brutus Jones was the ultimate capitalist, the ultimate exploiter.” “And that’s not black,” the actor remarked, “that’s American” (quoted in Donald P. Gagnon, “‘You Needn’t Be Scared of Me!’ Joe Mott and the Politics of Isolation and Interdependence in The Iceman Cometh,” in Herrmann and Dowling, Eugene O’Neill and His Early Contemporaries, 156).

243. Kenton, Provincetown Players, 124–25.

244. Kennedy, “Provincetown Playhouse,” 715.

245. Tragically, the legendary dome didn’t survive New York University’s recent renovations at the Macdougal Street address. Presumably Cook’s dome is decomposing in a Staten Island or New Jersey landfill. My thanks to Jeff Kennedy for mentioning to me this all-too-true image of the dome’s fate. Jimmy Light published an article at the time of the production that remains the most vivid existing description of its design, construction, and ultimate purpose.

246. Light, “Parade of Masks,” 3.

247. James Light, “Lighting Effects: Secured by Use of ‘Dome’ Explained by James Light,” Billboard, December 4, 1920, 20. A portion of James Light’s description is misquoted in Deutsch and Hanau, The Provincetown, 61–62.

248. Quoted in Clark, Eugene O’Neill, 72. This drum technique was not unique, however. The American dramatist Austin Strong used virtually the same idea in his 1915 melodrama, The Drums of Oude (ibid.).

249. Kyra Markham to Louis Sheaffer, September 6, 1962 (photocopy), private collection of Jackson R. Bryer.

250. Quoted in Michael A. Morrison, “Emperors Before Gilpin: Opal Cooper and Paul Robeson,” Eugene O’Neill Review 33, no. 2 (2012): 171n7. Morrison’s account of casting the role of Brutus Jones is the most up-to-date and comprehensive.

251. “Paul Robeson,” New York Amsterdam News, January 8, 1930, 9.

252. Morrison, “Emperors Before Gilpin,” 165, 166.

253. James Light, interview by Louis Sheaffer, May 21, 1960, Sheaffer-O’Neill Collection.

254. Light, interview by Sheaffer, October 17, 1960.

255. “Paul Robeson,” 9; “How Negro Actor Got His Chance in Emperor Jones,” New York Tribune, November 28, 1920, 2.

256. O’Neill, Selected Letters, 144; Kenton, Provincetown Players, 126; Light, interview by Sheaffer, October 17, 1960.

257. Teddy Ballantine, interview by Louis Sheaffer, n.d., Sheaffer-O’Neill Collection; O’Neill, Selected Letters, 170; S. J. Woolf, “Eugene O’Neill Returns After Twelve Years” (1946), in Estrin, Conversations with Eugene O’Neill, 172.

258. George Cram Cook, [The Emperor Jones, by Eugene O’Neill], 1, 2; O’Neill, Selected Letters, 142.

259. Quoted in Basso, “The Tragic Sense—II,” 37; Cook, “The Way of the Group.” See also Cook, [The Emperor Jones, by Eugene O’Neill], p. 4; Kenneth Macgowan, “Curtain Calls,” New York Globe and Commercial Advertiser, March 16, 1922; “To Close the Sunday Theatre: Directors of the Provincetown Players Charged with Violating the Law,” New York Times, December 10, 1920.

260. James Weldon Johnson, Black Manhattan (1930) (New York: Da Capo, 1991), 183–85.

261. Mary Welch, “Softer Tones for Mr. O’Neill’s Portrait,” Theatre Arts 41, no. 5 (1957): 67–68.

262. Number of performances in Basso, “The Tragic Sense—II,” 37. List of New York theaters in “Charles Gilpin in the Bronx,” New York Amsterdam News, October 27, 1926, 10; also see O’Neill, Selected Letters, 170.

263. Hermione Lee, Edith Wharton (New York: Knopf, 2007), 640; R. W. B. Lewis, Edith Wharton: A Biography (New York: Harper and Row, 1975), 487.

264. “Charles Gilpin in the Bronx,” 10; “Ku Klux Bars Charles Gilpin from the South,” Chicago Broad Ax, January 28, 1922, 2.

265. Quoted in Hubert H. Harrison, “With the Contributing Editor: The Emperor Jones,” Negro World, June 4, 1921, 6.

266. “Provincetown Players Stage Remarkable Play,” Brooklyn Daily Eagle, November 9, 1920, sec. 2, 5.

267. Quoted in Boulton, Part of a Long Story, 151. William Davies King, editor of the latest edition of Boulton’s memoir, notes that this section had been removed by the publishers. In his new edition, he restores the text, in brackets, for the first time (150–51).

268. Eugene O’Neill, [untitled poem], in Poems, 1912–1944, 77. Harlem Renaissance poet Langston Hughes, at only eighteen years old, published “The Negro Speaks of Rivers,” one of his most celebrated poems, the year after The Emperor Jones appeared. The poem echoes O’Neill’s atavistic meaning as well as referencing the riverbank—the Congo—upon which Brutus Jones is metaphorically slain. The Provincetown Players acknowledged the connection by reprinting Hughes’s poem in their program for the 1924 revival of The Emperor Jones with Paul Robeson.

269. Harrison, “With the Contributing Editor.”

270. Note on the text by Jeffrey B. Perry in Hubert Harrison, A Hubert Harrison Reader, ed. Jeffrey B. Perry (Watertown, Conn.: Wesleyan University Press, 2001), 194.

271. Hubert H. Harrison, “Marcus Garvey at the Bar of United States Justice” (1923), in Perry, A Hubert Harrison Reader, 199.

272. Eugene O’Neill to Hubert H. Harrison, June 9, 1921, p. 1, Hubert H. Harrison Papers, 1893–1927, Rare Book and Manuscript Library, Columbia University, New York.

273. Ibid., 2. It’s notable that O’Neill would use this line of dialogue, “Where do I go from here?” at the point of crisis in his next expressionistic play, The Hairy Ape, though he probably had already used it in the lost short story of that title.

274. Ibid., 1; Floyd, Eugene O’Neill at Work, 38.

275. Eugene O’Neill to Hubert H. Harrison, June 9, 1921, 1; quoted in Joel Pfister, Staging Depth: Eugene O’Neill and the Politics of Psychological Discourse (Chapel Hill: University of North Carolina Press, 1995), 121.

276. Johnson, Black Manhattan, 184.

277. Quoted in Sheaffer, Son and Artist, 36.

278. Johnson, Black Manhattan, 185n1; O’Neill, Selected Letters, 165; Paul Robeson, “Reflections on O’Neill’s Plays,” in The “Opportunity” Reader: Stories, Poems, and Essays from the Urban League’s “Opportunity” Magazine, ed. Sondra Kathryn Wilson (New York: Modern Library, 1999), 352; James Light, interview by Louis Sheaffer, June 26, 1960, Sheaffer-O’Neill Collection; O’Neill, Selected Letters, 177.

279. “Three Deaths,” New York Amsterdam News, May 14, 1930, 20.

280. Murphy, Provincetown Players, 178; Kenton, Provincetown Players, 155. Bryant would die at age forty-one alone in Paris. After her failed marriage to William C. Bullitt, she surrendered herself to alcohol and drugs while suffering from the body-deforming and agonizingly painful Dercum’s disease.

281. Djuna Barnes, “The Days of Jig Cook: Recollections of Ancient Theatre History But Ten Years Old,” Theatre Guild Magazine 6 (January 1929): 32.

282. Kenneth Macgowan, review of Diff’rent, in Cargill, Fagin, and Fisher, O’Neill and His Plays, 148; Clark, Eugene O’Neill, 79.

283. Heywood Broun, “Grey Gods and Green Goddesses,” Vanity Fair, April 1921, 98.

284. O’Neill, Selected Letters, 146.

285. Eugene O’Neill, “Damn the Optimists!” in Cargill, Fagin, and Fisher, O’Neill and His Plays, 104–6. This telling early statement by O’Neill was published in the New York Tribune, February 13, 1921, under the title “Eugene O’Neill’s Credo and His Reasons for His Faith.”

286. Stephen Rathbun, “O’Neill’s Latest Play Presented by the Provincetown Players,” New York Sun, December 31, 1920, 5.

287. O’Neill, Selected Letters, 146.

288. Heywood Broun, “Diff’rent Comes to Broadway at the Selwyn,” New York Tribune, February 1, 1921, 6.

289. Quoted in Egil Törnqvist, “Philosophical and Literary Paragons,” in The Cambridge Companion to Eugene O’Neill, ed. Michael Manheim (New York: Cambridge University Press, 1998), 22.

290. Quoted in Sheaffer, Son and Artist, 245.

291. Doris Alexander, Eugene O’Neill’s Creative Struggle: The Decisive Decade, 1924–1933 (University Park: Pennsylvania State University Press, 1992), 225, notes for p. 38.

292. O’Neill, “Scribbling Diary,” January 20, 1925, Eugene O’Neill Papers.

293. Quoted in Törnqvist, “Philosophical and Literary Paragons,” 22.

294. Quoted in Alexander, Eugene O’Neill’s Creative Struggle, 38. O’Neill is responding to critics here about his later play Desire Under the Elms.

295. O’Neill, “Damn the Optimists!”

296. Dorothy Commins, ed., “Love and Admiration and Respect”: The O’Neill-Commins Correspondence (Durham, N.C.: Duke University Press, 1986), 15; O’Neill, Selected Letters, 151.

297. George Jean Nathan, “The Bright Face of Tragedy,” Cosmopolitan, August 1957, 66.

298. King, “A Wind Is Rising,” 171.

299. Ibid., 199.

300. Commins, “Love and Admiration and Respect,” 17; O’Neill, Selected Letters, 156.

301. Quoted in Ronald H. Wainscott, Staging O’Neill: The Experimental Years, 1920–1934 (New Haven: Yale University Press, 1988), 67.

302. Ibid., 69.

303. Ludwig Lewisohn, “Gold” (1921), in The Critical Response to Eugene O’Neill, ed. John H. Houchin, Critical Responses in Arts and Letters, no. 5 (Westport, Conn.: Greenwood, 1993), 26.

304. Quoted in George Jean Nathan, “Eugene O’Neill After Twelve Years” (1946), in Estrin, Conversations with Eugene O’Neill, 177.

305. [Heywood Broun], “Animadversion on the Great-Great-Grandchildren of Ophelia—Also Shaw’s Summary on Theater,” New York Tribune, June 5, 1921, part 3, 1; Heywood Broun, “Gold at Frazee Shows O’Neill Below His Best,” New York Tribune, June 2, 1921, 6.

306. Eugene O’Neill to Robert Sisk, March 11, 1929, Sheaffer-O’Neill Collection.

307. Light, “Parade of Masks.”

308. Susan Glaspell, The Verge (1921), in Plays by Susan Glaspell, ed. C. W. E. Bigsby (New York: Cambridge University Press, 1987), 65, 78, 82.

309. Quoted in King, Another Part of a Long Story, 252n17.

310. Quoted in Sheaffer, Son and Artist, 48.

311. Quoted in Boulton, Part of a Long Story, 61.

312. Quoted in Sheaffer, Son and Artist, 48.

313. King, “A Wind Is Rising,” 195–96.

314. Heywood Broun, “It Seems to Me,” New York World, November 11, 1921, 15.

315. James Whittaker, “O’Neill Has First Concrete Heroine,” New York Sunday News, November 13, 1921, 21.

316. Eugene G. O’Neill, “The Mail Bag,” New York Times, December 18, 1921, sec. Music-Drama, 72.

317. O’Neill, Selected Letters, 148.

318. Burns Mantle, “The New Plays: ‘Anna Christie’ Vivid Drama,” New York Evening Mail, November 3, 1921, 13; George Jean Nathan, “The Press and the Drama,” Smart Set 67 (January 1922): 132; Alexander Woollcott, “Second Thoughts on First Nights” (1921), in Houchin, The Critical Response to Eugene O’Neill, 30.

319. See Katie N. Johnson, Sisters in Sin: Brothel Drama in America, 1900–1920, Cambridge Studies in American Theatre and Drama (New York: Cambridge University Press, 2006).

320. Kenneth Macgowan, “The New Play: Eugene O’Neill’s ‘Anna Christie’ a Notable Drama Notably Acted at the Vanderbilt Theatre,” New York Globe and Commercial Advertiser, November 3, 1921, 16.

321. For a more comprehensive understanding of naturalism in drama, see my essay “Sad Endings and Negative Heroes: The Naturalist Tradition in American Drama” in The Oxford Handbook to American Literary Naturalism, ed. Keith Newlin (New York: Oxford University Press, 2011), 427–44.

322. Quoted in Louis Kantor, “O’Neill Defends His Play of the Negro” (1924), in Estrin, Conversations with Eugene O’Neill, 48.

323. O’Neill, Selected Letters, 121; Wainscott, Staging O’Neill, 92; Playgoer, “Eugene O’Neill’s The Straw Is Gruesome Clinical Tale” (1921), in Houchin, The Critical Response to Eugene O’Neill, 38; Alan Dale, “Tuberculosis Dramatized in the Latest Play by Eugene O’Neill,” New York American, November 11, 1921; Light, interview by Sheaffer, May 21, 1960.

324. Clark, Eugene O’Neill, 102.

325. O’Neill, Selected Letters, 156.

326. Memorandum of Agreement on Eugene O’Neill, Jr., between Eugene O’Neill and Kathleen Jenkins, August 15, 1921, Eugene O’Neill Papers; Sheaffer, Son and Artist, 65–67.

327. Charles Kennedy, “Several Sides of Mr. O’Neill,” Call Board (Official Organ of the Catholic Actors’ Guild of America), June 1948, 7.

328. Sotheby Parke-Bernet, catalogue of sales, January 26, 1977 (the eight-page, handwritten, signed letter sold on January 26, 1977). A copy of the page from this catalogue is in the private collection of Jackson R. Bryer. This would be one of the longest letters, perhaps the longest, that O’Neill ever wrote. One can only hope it resurfaces.

329. O’Neill, Selected Letters, 157; Commins, “Love and Admiration and Respect,” 20.

330. Quoted in Sheaffer, Son and Playwright, 383.

331. Quoted in Malcolm Mollan, “Making Plays with a Tragic End: An Intimate Interview with Eugene O’Neill, Who Tells Why He Does It” (1922), in Estrin, Conversations with Eugene O’Neill, 15.

332. O’Neill, Selected Letters, 157, and quoted in Mollan, “Making Plays with a Tragic End,” 17.

333. Stirner, The Ego and His Own, 30; August Strindberg, “On Modern Drama and Modern Theatre” (1889), in August Strindberg: Selected Essays, ed. Michael Robinson (Cambridge: Cambridge University Press, 1996) 57, 59.

334. Quoted in Sheaffer, Son and Playwright, 239.

335. Sophus Keith Winther, Eugene O’Neill: A Critical Study (New York: Random House, 1934), 123.

336. Tennessee Williams, “The World I Live In” (1957), in A Streetcar Named Desire (New York: New Directions, 1947), 184; quoted in Sheaffer, Son and Artist, 44.

337. Commins, “Love and Admiration and Respect,” 20.

338. Oliver M. Sayler, “The Hairy Ape a Study in the Evolution of a Play: How O’Neill’s First Expressionistic Drama Took Form from the Experiment of The Emperor Jones,” New York Globe, May 6, 1922, 9.

339. O’Neill, Selected Letters, 161; Clark, Eugene O’Neill, 128; O’Neill, Selected Letters, 161.

340. George Jean Nathan. “Eugene O’Neill Is at Worst in His New Play, First Man,” Spokane Spokesman-Review, March 26, 1922, part 5, 2.

341. Quoted in Nathan, “Eugene O’Neill After Twelve Years,” 177.

342. Peter Egri, “‘Belonging’ Lost: Alienation and Dramatic Form in Eugene O’Neill’s The Hairy Ape,” in Critical Essays on Eugene O’Neill, ed. James J. Martine (Boston: G. K. Hall, 1984), 77; Kenneth Macgowan, “The New Play: Eugene O’Neill Sets a New Mark in The Hairy Ape,” New York Globe and Commercial Advertiser, March 10, 1922, 12.

ACT III: “The Broadway Show Shop”

Notes to pp. 239–30: “The greatest day of the Provincetown Players” (Mary Heaton Vorse, Time and the Town: A Provincetown Chronicle [1942], ed. Adele Heller [New Brunswick, N.J.: Rutgers University Press, 1991], 125; “the throb of the drum” (John Dos Passos, “Is the ‘Realistic’ Theatre Obsolete? Many Theatrical Conventions Have Been Shattered by Lawson’s ‘Processional’” [1925], in Travel Books and Other Writings, 1916–1941, ed. Townsend Ludington [New York: Library of America, 2003], 593).

1. James Light, interview by Louis Sheaffer, October 17, 1960, Sheaffer-O’Neill Collection, Linda Lear Center for Special Collections and Archives, Connecticut College, New London; Oliver M. Sayler, “The Hairy Ape a Study in the Evolution of a Play: How O’Neill’s First Expressionistic Drama Took Form from the Experiment of The Emperor Jones,” New York Globe, May 6, 1922, 9; Eugene O’Neill, Selected Letters of Eugene O’Neill, ed. Travis Bogard and Jackson R. Bryer (New Haven: Yale University Press, 1988), 167.

2. William Davies King, ed., “A Wind Is Rising”: The Correspondence of Agnes Boulton and Eugene O’Neill (Madison, N.J.: Fairleigh Dickinson University Press, 2000), 182.

3. Cheryl Black, “Pioneering Theatre Managers: Edna Kenton and Eleanor Fitzgerald of the Provincetown Players,” Journal of American Drama and Theatre 9, no. 3 (1997): 46–47; Edna Kenton, The Provincetown Players and the Playwrights’ Theatre, 1915–1922, ed. Travis Bogard and Jackson R. Bryer (Jefferson, N.C.: McFarland, 2004), 156.

4. Arthur Pollock, “About the Theater,” Brooklyn Daily Eagle, March 12, 1922, C7.

5. Eugene O’Neill to Robert Fisk, March 15, 1935, Sheaffer-O’Neill Collection; Keith Newlin and Frederic E. Rusch, introduction to The Collected Plays of Theodore Dreiser, ed. Newlin and Rusch (Albany, N.Y.: Whitston, 2000), xxvi. Dreiser’s full-length play The Hand of the Potter, a sympathetic treatment of a murderous child molester named Isadore Berchansky, based on the actual pedophilic murderer Nathan Swartz, had opened at the Provincetown Playhouse the previous December. Dreiser’s plotline horrified audiences. H. L. Mencken, best known for his defense of artistic freedom, scolded his friend Dreiser for “shocking the numskulls for the mere sake of shocking them” (xxvii).

6. O’Neill, Selected Letters, 87.

7. Ibid., 161; Alexander Woollcott, “The Play: Eugene O’Neill at Full Tilt,” New York Times, March 10, 1922, 18. The Wooster Group’s production of the early 1990s highlighted the industrial nightmare O’Neill conceived by constructing massive, cagelike scaffolding that allowed Yank, played with ferocious intensity by Willem Dafoe, to climb about with his coal-blackened face precisely resembling the primal ancestor O’Neill envisioned; Robert C. Benchley, “Drama,” Life, March 30, 1922, 18.

8. Yvonne Shaffer, Performing O’Neill: Conversations with Actors and Directors (New York: Palgrave Macmillan, 2000), 25.

9. James Light, interview by Louis Sheaffer, May 21, 1960, Sheaffer-O’Neill Collection.

10. Oliver M. Sayler, “The Yarn-Spinning Provincetown,” ca. 1929, TS, Provincetown Players’ Scrapbook, 1923–1929, Billy Rose Theatre Division, New York Public Library.

11. Louis Wolheim, “A Prometheus of Modern Drama,” Cincinnati Commercial Tribune, September 24, 1922.

12. Ibid.

13. Quoted in Egil Törnqvist, A Drama of Souls: Studies in O’Neill’s Super-Naturalistic Technique (New Haven: Yale University Press, 1969), 14. Benjamin De Casseres refers to the vultures of O’Neill’s conscience and imagination in his parody “Denial without End” (Eugene O’Neill Review 30 [2008]: 150–55).

14. O’Neill, Selected Letters, 161.

15. Ibid., 165.

16. Weather described in Alexander Woollcott, “The Play: The New O’Neill Play,” New York Times, March 6, 1922, 9; “ten bottles” from Louis Sheaffer, O’Neill: Son and Artist (Boston: Little, Brown, 1973), 85.

17. Sheaffer, Son and Artist, 86; Dorothy Commins, ed., “Love and Admiration and Respect”: The O’Neill-Commins Correspondence (Durham, N.C.: Duke University Press, 1986), 22n29.

18. Commins, “Love and Admiration and Respect,” 22.

19. Ibid., 23.

20. Ibid.

21. Ibid., 24, 25.

22. Ibid., 25.

23. Sheaffer, Son and Artist, 87.

24. David Karsner, “Here and There and Everywhere,” New York Call, May 20, 1922, 10.

25. James Light, interview by Louis Sheaffer, November 5, 1961, Sheaffer-O’Neill Collection.

26. Carl Hovey to Eugene O’Neill, August 13, 1918, Sheaffer-O’Neill Collection.

27. Heywood Broun, “It Seems to Me,” New York World, April 25, 1922. Gold is quoted in this column.

28. L. E. Levick, “The Hairy Ape and the I.W.W.—Marine Transport Workers Turn Dramatic Critics and Praise O’Neill,” Freeman, May 1922.

29. “O’Neill, Hopkins and Hairy Ape Demand Amnesty,” New York Call, July 1, 1922, 1, 5.

30. Kenneth Macgowan, “Curtain Calls,” New York Globe and Commercial Advertiser, March 16, 1922.

31. “Court Has Case of Provincetown Players Dropped,” March 1922, Clippings Scrapbook, Eugene O’Neill Papers, Beinecke Library, Yale University, New Haven.

32. “Censorship at Its Worst,” Brooklyn Daily Eagle, May 19, 1922; “Censors to Take Up Hairy Ape,” New York Call, May 20, 1922, 1; Lawrence Reamer, “Mr. O’Neill at Home,” New York Herald, June 4, 1922; “Calls Hairy Ape’s Foes ‘Poor Dolts,’” New York World, [May] 1922.

33. Reamer, “Mr. O’Neill at Home”; Karsner, “Here and There and Everywhere,” May 20, 1922, 10.

34. FBI memorandum, April 22, 1924; David Karsner, “Here and There and Everywhere,” New York Call, June 2, 1922.

35. Patterson James, “Off the Record,” Billboard, June 10, 1922, 18.

36. O’Neill, Selected Letters, 167.

37. Eleanor M. Fitzgerald, “Valedictory of an Art Theatre,” New York Times, December 22, 1929, in Kenton, Provincetown Players, 199.

38. Commins, “Love and Admiration and Respect,” 21; Kenneth Macgowan, “Seen on the Stage,” Vogue, May 1, 1922, 108. For Hopkins’s role, see Woollcott, “The Play: Eugene O’Neill at Full Tilt,” 18; “The Highbrow: At the Play; The Hairy Ape, at the Provincetown Playhouse,” Town Topics, March 16, 1922, 13.

39. Kenton, Provincetown Players, 156; O’Neill, Selected Letters, 168.

40. George Cram Cook to Edna Kenton, July 8, 1922, Clifton Waller Barrett Library of American Literature, Albert and Shirley Small Special Collections Library, University of Virginia, Charlottesville.

41. Quoted in Kenton, Provincetown Players, 156.

42. O’Neill, Selected Letters, 172; Commins, “Love and Admiration and Respect,” 26; Sheaffer, Son and Artist, 66–67.

43. Quoted in Sheaffer, Son and Artist, 97.

44. Kyra Markham to Louis Sheaffer, September 6, 1962 (photocopy), private collection of Jackson R. Bryer.

45. See Brian Rogers, “Brook Farm,” in Critical Companion to Eugene O’Neill: A Literary Reference to His Life and Work, ed. Robert M. Dowling (New York: Facts on File, 2009), 2:538.

46. Hamilton Basso, “The Tragic Sense—II,” New Yorker, March 6, 1948, 38; quoted in Sheaffer, Son and Artist, 282.

47. Quoted in William Davies King, Another Part of a Long Story: Literary Traces of Eugene O’Neill and Agnes Boulton (Ann Arbor: University of Michigan Press, 2010), 145, 126. Only two charred fragments and a transcribed page of the novel, which, like Welded, was a fictional but deeply personal account of their marriage, has survived.

48. Teddy Ballantine’s undated interview with Sheaffer indicates that this took place at Brook Farm, though he presumed it was a portrait of Agnes instead of her father. Boulton told Sheaffer it happened at Brook Farm as well (Son and Artist, 107).

49. Quoted in King, Another Part of a Long Story, 110–11.

50. See ibid., 125, 259n54.

51. Sheaffer, Son and Artist, 107.

52. Lloyd Goodrich, notes supplied to the author by Kathleen A. Foster, the Robert L. McNeil, Jr., Senior Curator and Director of American Art, Center for American Art, Philadelphia Museum of Fine Art.

53. Quoted in King, Another Part of a Long Story, 259n54.

54. Eakins biographer Gordon Hendricks saw another sketch of Teddy Boulton, but that is also lost (Kathleen A. Foster, Thomas Eakins Rediscovered: Charles Bregler’s Thomas Eakins Collection at the Pennsylvania Academy of Fine Arts [New Haven: Yale University Press, 1997], 278n18). The physical work of the portrait published here was sold first to the Hirschl and Adler Galleries in 1987, then again to a private buyer by Sotheby’s in 1997. My thanks to Hirschl and Adler’s Genevieve Hulley, assistant to the senior vice president of American Paintings and Sculpture, and Kathleen A. Foster.

55. Geoff Thompson rightly shifts the psychological import for O’Neill from O’Neill’s writing to his drinking in his clinical psychology master’s thesis at Trinity Western University, “A Touch of the Poet: A Psychobiography of Eugene O’Neill’s Recovery from Alcoholism” (2004).

56. Sheaffer, Son and Artist, 107; Barrett H. Clark, Eugene O’Neill: The Man and His Plays, rev. ed. (New York: Dover, 1947), 42; Croswell Bowen, “The Black Irishman,” (1946), in O’Neill and His Plays: Four Decades of Criticism, ed. Oscar Cargill, N. Bryllion Fagin, and William J. Fisher (New York: New York University Press, 1961), 73; Sheaffer, Son and Artist, 102.

57. Louis Kantor, “O’Neill Defends His Play of the Negro” (1924), in Conversations with Eugene O’Neill, ed. Mark W. Estrin (Jackson: University Press of Mississippi, 1990), 49.

58. The following year, Boulton would even use the name “Elinor” as her pseudonym when she copyrighted her own marriage play, The Guilty One, based on a 1917 scenario of O’Neill’s The Reckoning.

59. Agnes Boulton, Part of a Long Story: “Eugene O’Neill as a Young Man in Love,” ed. William Davies King (Jefferson, N.C.: McFarland, 2011), 56.

60. Friedrich Wilhelm Nietzsche, Thus Spake Zarathustra (1883–85), trans. Thomas Common, Project Gutenberg, Release #1988, http://onlinebooks.library.upenn.edu/webbin/gutbook/lookup?num=1998.

61. Ibid.

62. O’Neill, Selected Letters, 271; Virginia Floyd, The Plays of Eugene O’Neill: A New Assessment (New York: Frederick Ungar, 1985), 133.

63. Sheaffer, Son and Artist, 106, 107.

64. Ibid., 107.

65. Ibid., 116; Commins, “Love and Admiration and Respect,” 27.

66. Quoted in Sheaffer, Son and Artist, 105.

67. Ibid., 117.

68. Malcolm Cowley, “A Weekend with Eugene O’Neill,” in Cargill, Fagin, and Fisher, O’Neill and His Plays, 41.

69. Hart Crane, The Letters of Hart Crane, 1916–1932, ed. Brom Weber (Berkeley: University of California Press, 1965).

70. Cowley, “A Weekend with Eugene O’Neill,” 45.

71. Ibid., 47, 49.

72. O’Neill, Selected Letters, 378; Sheaffer, Son and Artist, 117.

73. During her tenure as the Players’ official secretary-treasurer, Fitzgerald probably raised more money to keep Macdougal Street operational than the rest of the Players combined. “No one to whom she appealed could doubt her good sense or her competence,” wrote E. E. Cummings, whose play him Fitzgerald would help usher onto the Macdougal Street stage in 1928 (quoted in Black, “Pioneering Theatre Managers,” 52–53).

74. Helen Deutsch and Stella Hanau, The Provincetown: A Story of the Theatre (New York: Farrar and Rinehart, 1931), 97.

75. O’Neill, Selected Letters, 182.

76. George Cram Cook to Edna Kenton, July 10–23, 1922, Clifton Waller Barrett Library of American Literature.

77. Quoted in Paul Roazen, “O’Neill and Louise Bryant: New Documents,” Eugene O’Neill Review 27 (2005): 35.

78. O’Neill, Selected Letters, 186; Eugene O’Neill to Susan Glaspell, June 3, 1924, Susan Glaspell Collection, Clifton Waller Barrett Library of American Literature.

79. Quoted in Black, “Pioneering Theatre Managers,” 49.

80. Quoted in Clark, Eugene O’Neill, 31.

81. Deutsch and Hanau, The Provincetown, 101; Eugene O’Neill, “Strindberg and Our Theatre” (1924), in Cargill, Fagin, and Fisher, O’Neill and His Plays, 109; Deutsch and Hanau, The Provincetown, 102.

82. Agnes Boulton, “An Experimental Theatre: The Provincetown Playhouse,” Theatre Arts 8 (March 1924): 188; Alexander Woollcott, “The Stage: The New O’Neill Work,” New York World, December 11, 1925, 15.

83. O’Neill, “Strindberg and Our Theatre,” 108; Ronald H. Wainscott, Staging O’Neill: The Experimental Years, 1920–1934 (New Haven: Yale University Press, 1988), 117; James Light, “The Parade of Masks,” undated, T-Mss 2001–050, Billy Rose Theatre Division, New York Public Library.

84. Light, “Parade of Masks.”

85. Ibid.

86. Eugene O’Neill, “Memoranda on Masks,” in The Unknown O’Neill: Unpublished and Unfamiliar Writings of Eugene O’Neill, ed. Travis Bogard (New Haven: Yale University Press, 1988), 407, 410.

87. Heywood Broun, “The New Play: At the Provincetown Playhouse,” New York World, April 7, 1924, 9; Robert Gilbert Welsh, “Classics and Provincetown,” New York Telegram and Evening Mail, April 7, 1924, 13.

88. E. W. Osborn, “The New Plays: Welded,” New York Evening World, March 18, 1924, 10; Arthur Pollock, “The New Plays: Welded,” Brooklyn Daily Eagle, March 18, 1924, 9.

89. Sheaffer, Son and Artist, 132; Gordon Whyte, “The New Plays on Broadway,” Billboard, March 29, 1924, 34; Edna Kenton to Carl Van Vechten, April 4, 1924 (incomplete TS), Sheaffer-O’Neill Collection.

90. Stark Young, “Eugene O’Neill: Notes from a Critic’s Diary,” Harper’s Magazine, June 1957, 66–71, 74; Macgowan, “Seen on the Stage,” 92; Kantor, “O’Neill Defends,” 49.

91. Deutsch and Hanau, The Provincetown, 108; Kenneth Macgowan, “O’Neill’s Play Again,” New York Times, August 31, 1924, X2.

92. Publicity Committee, “The Fifteen Year Record of the Class of 1910 of Princeton University,” 1925, TS, Sheaffer-O’Neill Collection.

93. Kevin J. Mumford, Interzones: Black/White Sex Districts in Chicago and New York in the Early Twentieth Century (New York: Columbia University Press, 1997), 126–27.

94. “James Light Dies; O’Neill Associate,” New York Times, February 12, 1964; Edmund Wilson, The Twenties: From Notebooks and Diaries of the Period, ed. Leon Edel (New York: Farrar, Straus and Giroux, 1975), 112; Karl Decker, “Chillun Roasted by 100,000 Women,” New York Morning Telegraph, March 20, 1924.

95. Virginia Floyd, ed., Eugene O’Neill at Work: Newly Released Ideas for His Plays (New York: Frederick Ungar, 1981), 53 (emphasis added); “Village Man Who Helped Famous Playwright Dies,” New York Amsterdam News, November 27, 1929, 3.

96. Floyd, Eugene O’Neill at Work, 176.

97. Sheaffer-O’Neill Collection.

98. Gene Fowler, “God’s Chillun Is Staged at Provincetown,” New York American, May 16, 1924, 10.

99. Macgowan, “O’Neill’s Play Again.”

100. For the date of completion, see Agnes Boulton to Harold de Polo, October 20, 1923, Clifton Waller Barrett Library of American Literature.

101. Quoted in Sheaffer, Son and Artist, 135.

102. Kantor, “O’Neill Defends,” 46; Carol Bird, “Eugene O’Neill—The Inner Man” (1924), in Estrin, Conversations with Eugene O’Neill, 54.

103. TS of O’Neill’s statement, March 19, 1924, is in Sheaffer-O’Neill Collection.

104. Quoted in Deutsch and Hanau, The Provincetown, 109.

105. Ibid., 111.

106. Sheaffer notes on All God’s Chillun: refers to an unnamed article in the New York American. Sheaffer-O’Neill Collection.

107. Quoted in Sheaffer, Son and Artist, 140.

108. Light, interview by Sheaffer, November 5, 1961.

109. George Jean Nathan, “The Theatre,” American Mercury, May 1924, 113; “Shieks [sic], Art and Uplift,” Fiery Cross, February 29, 1924, 4.

110. Glenda Frank, “Tempest in Black and White: The 1924 Premiere of Eugene O’Neill’s All God’s Chillun Got Wings,” Resources for American Literary Study 26, no. 1 (2000): 79.

111. T. S. Eliot, “All God’s Chillun Got Wings,” in Cargill, Fagin, and Fisher, O’Neill and His Plays, 169; Edmund Wilson, “All God’s Chillun and Others,” New Republic, May 28, 1924, 22.

112. Alain Locke, “The Negro and the American Stage,” in The Works of Alain Locke, ed. Charles Molesworth (New York: Oxford University Press, 2012), 118; Sheaffer, Son and Artist, 138.

113. Quoted in Jordan Y. Miller, Playwright’s Progress: O’Neill and the Critics (Chicago: Scott, Foresman, 1965), 39.

114. “Negroes Protest New O’Neill Play: Boston Will Ban All God’s Chillun Got Wings as Insulting Colored Race,” Morning Telegraph, February 24, 1924; Macgowan, “O’Neill’s Play Again”; “Negro Clergy Bitter at Play,” New York American, March 15, 1924, 24.

115. Paul Robeson, “Reflections on O’Neill’s Plays,” in The “Opportunity” Reader: Stories, Poems, and Essays from the Urban League’s “Opportunity” Magazine, ed. Sondra Kathryn Wilson (New York: Modern Library, 1999), 353, 352.

116. The African American actor John Douglas Thompson, who played Jones in the Irish Repertory Theatre’s production in the 2009–10 season, remarked that the only way he could justify accepting the role for himself was to fully “oppress” the white character Smithers (“O’Neill in Bohemia,” Eugene O’Neill International Conference, New York City, June 22–26, 2011). A 1992 postmodern revival by the Wooster Group boldly, and highly successfully, cast Kate Valk, a white woman in blackface, as Brutus Jones.

117. T. B. Poston, “Harlem Dislikes ‘Nigger’ in Emperor Jones but Flocks to See Picture at Uptown House,” New York Amsterdam News, September 27, 1933, 9.

118. Macgowan, “O’Neill’s Play Again.”

119. Sheaffer, Son and Artist, 140.

120. Quoted in Michael A. Morrison, “Emperors Before Gilpin: Opal Cooper and Paul Robeson,” Eugene O’Neill Review 33, no. 2 (2012): 167.

121. Light, interview by Sheaffer, November 5, 1961; for the location of Barney Gallant’s speakeasies, see Emily Kies Folpe, It Happened on Washington Square (Baltimore: Johns Hopkins University Press, 2002), 220, 271.

122. Heywood Broun, “Seeing Things at Night,” New York World, June 22, 1924; Crane, Letters.

123. Sheaffer, Son and Artist, 143; Sheila Evans, “Paul Robeson, the Actor,” performed by Sheila Evans and Paul Robeson Jr., Mustard Seed, 2003, CD; “Chillun Barred as Too Youthful, Mayor Explains,” New York Evening World, May 16, 1924, 9.

124. Deutsch and Hanau, The Provincetown, 111; Percy Hammond, “The Theaters,” New York Herald Tribune, May 16, 1924, 10; Macgowan, “O’Neill’s Play Again.”

125. “Hylan Stands Pat against Chillun: Provincetown Attorney’s Plea for Reconsideration of Action Barring Children Fails,” New York Morning Telegraph, May 17, 1924, 1; “Wings Are Folded by God’s Chillun,” New York Morning Telegraph, May 19, 1924, 1.

126. Publicity Committee, “The Fifteen Year Record of the Class of 1910”; Burns Mantle, “All God’s Chillun with One Scene Cut,” New York Daily News, May 16, 1924, 24.

127. Kelcey Allen, “All God’s Chillun Got Wings Proves a Poignant Drama,” Women’s Wear Daily, May 16, 1924, 30. In contrast, the current drama critic for the New Yorker, Hilton Als, who is African American, considers All God’s Chillun Got Wings and Thirst “just plain wrong but historically fascinating” plays in which O’Neill “had tackled—and made a hash of—race” (Hilton Als, “The Theatre: The Red and the Black,” New Yorker, June 24, 2013, 82). It’s interesting to note that Als did not cite The Dreamy Kid or The Emperor Jones. Langston Hughes, whose poem “The Negro Speaks of Rivers” was printed in the program for The Emperor Jones revival then playing on alternate nights, could not have been the poet Kelcey Allen refers to, since he was in Paris at the time of the production.

128. Karl Decker, “All God’s Chillun Crippled at the Birth,” New York Morning Telegraph, May 17, 1922, 2. The lady critic may well have been Ann Bridgers of Raleigh, North Carolina’s News and Observer, who considered the play a work of “flabby sentimentalism” that succeeded only in painting “black blacker” (Ann Bridgers, “Impressions along Broadway,” Raleigh News and Observer, July 6, 1924, sec. 10, 8).

129. Macgowan, “O’Neill’s Play Again”; “Chillun Barred as Too Youthful, Mayor Explains,” 9; Macgowan, “O’Neill’s Play Again.”

130. Arthur Pollock, “The New Plays: All God’s Chillun,” Brooklyn Daily Eagle, May 16, 1924, 5; “Prologue of All God’s Chillun Is Read, as Child Actors Are Barred,” New York World, May 16, 1924, 13; Robert C. Benchley, “Drama,” Life, June 5, 1924, 22.

131. Robeson would also play Yank in a 1931 London revival of The Hairy Ape.

132. Robeson, “Reflections on O’Neill’s Plays,” 353.

133. Quoted in Deutsch and Hanau, The Provincetown, 110.

134. O’Neill, Selected Letters, 190, 189.

135. Ibid., 189, 190.

136. Ibid, 191, 188.

137. From the reviews we can glean in what order the plays were produced, a common point of confusion: The Moon of the Caribbees, The Long Voyage Home, In the Zone, and Bound East for Cardiff. On December 16, the Glencairn production moved uptown to the Punch and Judy Theatre and then, on January 12, to the Princess Theatre. In 1940, John Ford directed a film of the series titled The Long Voyage Home, with a screenplay by O’Neill’s friend Dudley Nichols and with John Wayne playing the Swedish sailor Olson. It was O’Neill’s favorite of the numerous film versions of his plays made while he was still alive.

138. George Jean Nathan, “The Kahn-Game,” Judge, December 6, 1924, 17.

139. O’Neill, Selected Letters, 188.

140. After its run, O’Neill still accused Jones, for all his pioneering methods, of failing to produce the play “as I wrote it” (ibid., 213).

141. Quoted in Eugene O’Neill, “The Theatre We Worked For”: The Letters of Eugene O’Neill to Kenneth Macgowan, ed. Travis Bogard and Jackson R. Bryer (New Haven: Yale University Press, 1982), 70.

142. Euphemia Van Rensselaer Wyatt, “The Drama: Eugene O’Neill on Plymouth Rock,” Catholic World, January 1925, 520.

143. Doris Alexander, Eugene O’Neill’s Creative Struggle: The Decisive Decade, 1924–1933 (University Park: Pennsylvania State University Press, 1992), 36; Arthur Gelb, “Film Version of Play Recalls Complexity of Its Origins,” New York Times, March 2, 1958; Eugene O’Neill, “As Ever, Gene”: The Letters of Eugene O’Neill to George Jean Nathan, ed. Nancy L. Roberts and Arthur W. Roberts (Rutherford, N.J.: Fairleigh Dickinson University Press, 1987), 54.

144. Malcolm Mollan, “Making Plays with a Tragic End: An Intimate Interview with Eugene O’Neill, Who Tells Why He Does It” (1922), in Estrin, Conversations with Eugene O’Neill, 15; Alexander, Eugene O’Neill’s Creative Struggle, 34.

145. Gilbert W. Gabriel, “Desire Under the Elms: Eugene O’Neill’s New Tragedy of an Old Soil Staged at the Greenwich Village,” New York Telegram and Evening Mail, November 12, 1924, 26; Alexander, Eugene O’Neill’s Creative Struggle, 38.

146. Agnes Boulton to Harold de Polo, October 6, 1924, Clifton Waller Barrett Library of American Literature; Agnes Boulton, “Eugene’s Drinking,” n.d., TS (carbon copy), Beinecke Library. “Eugene’s Drinking” is written in pencil on the stationary of Dr. Gilbert Van Tassel Hamilton’s Bureau of Social Hygiene and Division of Psychological Research. This would date it January 1926.

147. Boulton, “Eugene’s Drinking.”

148. Quoted in Alexander, Eugene O’Neill’s Creative Struggle, 33.

149. King, “A Wind Is Rising,” 136.

150. Juliet Throckmorton, “As I Remember Eugene O’Neill,” Yankee Magazine, August 1968, 85, 93–95.

151. Eugene O’Neill to Harold de Polo, February 6, [probably 1925], Clifton Waller Barrett Library of American Literature.

152. For a more complete picture of the O’Neills’ life in Bermuda, see Joy Bluck Waters, Eugene O’Neill and Family: The Bermuda Interlude (Warwick, Bermuda: Granaway), 1992.

153. O’Neill, “Scribbling Diary,” January 1 and 4, 1925, Eugene O’Neill Papers.

154. Eugene O’Neill, Eugene O’Neill Work Diary, 1924–1943 (preliminary edition), vol. 1, transcribed by Donald Gallup (New Haven: Yale University Library, 1981), January 5, 1925.

155. Boulton indicates in “Eugene’s Drinking” that he stopped on January 6, but his work diary clearly shows that he’d only begun “tapering off.” O’Neill maintained what he called “scribbling diaries” starting in 1924. In 1931, his third wife, Carlotta Monterey, gave him a five-year diary, which he used to transfer work-related information from the original diaries. He then destroyed the original, more personal volumes. Agnes Boulton saved one of them, for the year 1925, which enraged O’Neill, but it offers treasured biographical information about the playwright’s life during this period, especially his battle with alcoholism.

156. O’Neill, “Scribbling Diary,” January 27, 22, and 31, 1925.

157. Sheaffer, Son and Artist, 163.

158. O’Neill, “Scribbling Diary,” January 9, 1925.

159. King, Another Part of a Long Story, 137.

160. O’Neill, “Scribbling Diary,” February 8, 1925; Eugene O’Neill, “To Alice,” in Poems, 1912–1944, ed. Donald Gallup (New Haven, Conn.: Ticknor and Fields, 1980), 95; Sheaffer, Son and Artist, 164.

161. O’Neill, “Scribbling Diary,” February 21, 24, 25, and 27, 1925.

162. Percy Hammond, “The Theaters: Mr. O’Neill’s Desire Under the Elms Is the Best of His Pleasing Tortures,” New York Herald Tribune, November 12, 1924, 14; Basso, “Tragic Sense—II,” 43; Louis Sheaffer, TS, n.d., in Desire Under the Elms folder, Sheaffer-O’Neill Collection.

163. O’Neill, “Scribbling Diary,” February 10 and 16 and March 9, 1925.

164. O’Neill, “As Ever, Gene,” 54; Eugene O’Neill to J. O. Lief, March 28, 1925, Sheaffer-O’Neill Collection.

165. Quoted in Alexander, Eugene O’Neill’s Creative Struggle, 38.

166. “Laughs Mark Trial of O’Neill Actors,” New York Times, April 13, 1926.

167. Ibid.

168. Louis Sheaffer, TS, n.d., in Desire Under the Elms folder, Sheaffer-O’Neill Collection.

169. Sheaffer, Son and Artist, 315.

170. O’Neill, Selected Letters, 187; Travis Bogard, Contour in Time: The Plays of Eugene O’Neill, rev. ed. (New York: Oxford University Press, 1988), 202; Cowley, “A Weekend with Eugene O’Neill,” 46; Sheaffer, Son and Artist, 126.

171. O’Neill, “As Ever, Gene,” 54; O’Neill, “Scribbling Diary,” March 22 and 25, 1925.

172. Quoted in Waters, Eugene O’Neill and Family, 27.

173. James Light, interview by Louis Sheaffer, August 14, 1962, Sheaffer-O’Neill Collection, Linda Lear Center for Special Collections and Archives, Connecticut College, New London. Light, “Parade of Masks.” Kenneth Macgowan also provides a reflection on O’Neill’s use of masks in the playbill for The Great God Brown. Kenneth Macgowan, “The Mask in Drama,” Greenwich Playbill, season 1925–26, no. 4: 1, 6, Albert and Shirley Small Special Collections Library.

174. Quoted in Clark, Eugene O’Neill, 104.

175. Sergeant, Elizabeth Shepley, “O’Neill: The Man with a Mask,” New Republic, March 16, 1927, 94.

176. Quoted in Clark, Eugene O’Neill, 160.

177. Quoted in Waters, Eugene O’Neill and Family, 28. Oona was born the week the megastar and (thirty-six-year-old) future husband Charlie Chaplin was wrapping up the final scene of his smash hit The Gold Rush (1925).

178. O’Neill, “Scribbling Diary,” June 6, 1925. (Note at bottom reads: “Should be Thursday,” which would make it June 4.)

179. Ibid., June 15, 1925. O’Neill considered titling Strange Interlude “The Haunted”; The Haunted became the title of the third play in his 1931 trilogy Mourning Becomes Electra (O’Neill, “As Ever, Gene,” 58).

180. Agnes Boulton to Harold de Polo, June 18, 1925, Clifton Waller Barrett Library of American Literature.

181. O’Neill, “Scribbling Diary,” July 17 and 18, 1925.

182. Ibid., September 11, 1925. The Long Voyage Home and The Emperor Jones opened on September 10, 1925, at the Ambassadors Theatre in London.

183. Boulton, “Eugene’s Drinking”; O’Neill, “Scribbling Diary,” August 2 and 6, 1925.

184. Sheaffer, Son and Artist, 183.

185. O’Neill, “Scribbling Diary,” October 5, 1925.

186. O’Neill to Art McGinley, April 9, 1927, 1 [page 2 missing], Clifton Waller Barrett Library of American Literature. In this letter, O’Neill says this is the last time he drank, but in fact, as is clear from his “Scribbling Diary” of 1925, he continued drinking throughout that fall.

187. Quoted in Arthur Gelb and Barbara Gelb, O’Neill: Life with Monte Cristo (New York: Applause, 2000), 209.

188. Quoted in Lewis M. Dabney, Edmund Wilson: A Life in Letters (New York: Macmillan, 2005), 99.

189. O’Neill, “Scribbling Diary,” November 23, 1925. O’Neill writes, “On bust with Bunnie … stayed up all night with Bunnie and Mary.” Dabney, Edmund Wilson, 99; Wilson, The Twenties, 110–12, 400; Sheaffer, Son and Artist, 267.

190. O’Neill, “Scribbling Diary,” November 24, 1925.

191. Light, “Parade of Masks.”

192. Ibid.

193. James Light, interview by Sheaffer, May 21, 1960.

194. Mary McCarthy, “Eugene O’Neill—Dry Ice” (1959), in Twentieth Century Interpretations of “The Iceman Cometh”: A Collection of Critical Essays, ed. John H. Raleigh (Englewood Cliffs, N.J.: Prentice-Hall, 1968), 50. This essay is an expansion of her original review of Iceman for Partisan Review, November–December 1946, 577–79. The earlier version does not include the elephant metaphor.

195. O’Neill, Selected Letters, 122; “A Letter from O’Neill,” New York Times, April 11, 1920; O’Neill, Selected Letters, 122. In his 1933 play Days Without End O’Neill would make his long-held frustration, one that went back at least as far as Diff’rent, even more transparent by titling his acts “Plot for a Novel” and “Plot for a Novel Continued.”

196. James Light’s reminiscence doesn’t specify a date, but he makes it clear the meeting took place between O’Neill’s The Great God Brown and Strange Interlude, the latter of which Light knew O’Neill had begun that spring 1925, but for which he hadn’t yet begun writing the dialogue. In O’Neill’s “Scribbling Diary,” he remarks on November 24 that he was “disgusted” with The Fountain, and then went to Jimmy Light’s that evening.

197. O’Neill was borrowing his analogy from Percy Bysshe Shelley’s essay “A Defense of Poetry” (1821): “The greatest poet even cannot say it; for the mind in creation is as a fading coal, which some invisible influence, like an inconstant wind, awakens to transitory brightness; this power arises from within, like the color of a flower which fades and changes as it is developed, and the conscious portions of our natures are unprophetic either of its approach or its departure. Could this influence be durable in its original purity and force, it is impossible to predict the greatness of the results; but when composition begins, inspiration is already on the decline, and the most glorious poetry that has ever been communicated to the world is probably a feeble shadow of the original conceptions of the poet.”

198. Light, “Parade of Masks.”

199. Ibid.

200. Eugene O’Neill to Alexander King, January 29, 1932, in the author’s possession.

201. Aside from two days reviewing the proofs for the book version of The Great God Brown, there are no creative work days listed in his work diary from November 12, 1925, when he finished act 3, scene 1 of Lazarus Laughed, to March 6, 1926, when his entry reads, “Started actual work on Lazarus Laughed—don’t like as is” (O’Neill, Work Diary, 23).

202. O’Neill, “Scribbling Diary,” December 9, 10, and 11, 1925.

203. Gilbert W. Gabriel, “De Leon O’Neill in Search of His Spring,” New York Sun, December 11, 1925, 34; Bogard, Contour in Time, 238.

204. O’Neill, “Scribbling Diary,” December 27 and 31, 1925, and January 1, 1926.

205. King, Another Part of a Long Story, 143; Dr. G. V. Hamilton, A Research in Marriage (New York: Lear, 1929), 240.

206. Quoted in King, Another Part of a Long Story, 142–43. See also James Light, interview by Louis Sheaffer, March 26, 1959, Sheaffer-O’Neill Collection.

207. O’Neill, “Scribbling Diary,” October 16, 1925.

208. Quoted in King, Another Part of a Long Story, 140.

209. Quoted in Edward L. Shaughnessy, Eugene O’Neill in Ireland: The Critical Reception (Westport, Conn.: Greenwood, 1988), 13.

210. Quoted in King, Another Part of a Long Story, 144.

211. Harry Kemp, “Out of Provincetown: A Memoir of Eugene O’Neill” (1930), in Estrin, Conversations with Eugene O’Neill, 102.

212. Quoted in Sheaffer, Son and Artist, 192.

213. Eugene O’Neill, “Eugene O’Neill Writes about His Latest Play, The Great God Brown,” New York Evening Post, February 13, 1926.

214. Ibid.; John Anderson, “The Play: O’Neill’s Newest Play Opens at the Greenwich Village,” New York Evening Post, January 25, 1926, 6; J. Brooks Atkinson, “The Play: Symbolism in an O’Neill Tragedy,” New York Times, January 25, 1926, 26.

215. William Harrigan [actor who played William Brown], interview by Louis Sheaffer, December 13, 1960, Sheaffer-O’Neill Collection; O’Neill, Selected Letters, 549.

216. Clark, Eugene O’Neill, 106.

217. Sheaffer, Son and Artist, 211.

218. Waters, Eugene O’Neill and Family, 49, 59.

219. O’Neill, Selected Letters, 204.

220. Ibid., 203.

221. Ibid., 205, 213.

222. Commins, “Love and Admiration and Respect,” 29.

223. For a theoretical analysis of novelistic attributes of O’Neill’s plays, see Kurt Eisen, The Inner Strength of Opposites: O’Neill’s Novelistic Drama and the Melodramatic Imagination (Athens: University of Georgia Press, 1994).

224. For more on the role of alcohol in O’Neill’s late plays, see Stephen F. Bloom, “The Role of Drinking and Alcoholism in O’Neill’s Late Plays,” Eugene O’Neill Newsletter 8, no. 1 (1984), http://eoneill.com/library/newsletter/viii_1/viii-1e.htm.

225. Quoted in Sheaffer, Son and Artist, 205.

226. Ibid., 232; George Jean Nathan, “The Cosmopolite of the Month,” Cosmopolitan, February 1937, 8, 11.

227. Quoted in David Karsner, “Eugene O’Neill at Close Range in Maine,” New York Herald Tribune, August 8, 1926, sec. 8, 4.

228. Quoted in Madeline Smith, “George Pierce Baker,” in Dowling, Critical Companion to Eugene O’Neill, 2:530.

229. Karsner, “Eugene O’Neill at Close Range in Maine,” 6.

230. Quoted in Sheaffer, Son and Artist, 208.

231. Quoted in ibid., 209.

232. Quoted in ibid., 211. O’Neill, if not the people of New London, might have taken some consolation in the fact that the beach’s Coney Island–style boardwalk and touristy shops would be washed out to sea by the hurricane of 1939.

233. David E. Philips, “Eugene O’Neill’s Fateful Maine Interlude,” Down East 28, no. 1 (1981): 106, 87.

234. O’Neill, Selected Letters, 206; quoted in Sheaffer, Son and Artist, 211.

235. O’Neill, Selected Letters, 210.

236. Karsner, “Eugene O’Neill at Close Range in Maine,” 5.

237. Sergeant, “O’Neill,” 96, 91.

238. Quoted in Sheaffer, Son and Artist, 213.

239. Ibid., 216; King, Another Part of a Long Story, 149.

240. Sheaffer, Son and Artist, 230; King, Another Part of a Long Story, 149.

241. Sheaffer, Son and Artist, 221–22, 223.

242. Quoted in King, Another Part of a Long Story, 150.

243. Philips, “Eugene O’Neill’s Fateful Maine Interlude,” 104; Sheaffer, Son and Artist, 217; O’Neill, Work Diary, 29.

244. Quoted in Sheaffer, Son and Artist, 229.

245. Quoted in Philips, “Eugene O’Neill’s Fateful Maine Interlude,” 106.

246. Quoted in Sheaffer, Son and Artist, 217.

247. O’Neill, Selected Letters, 207; Sheaffer, Son and Artist, 211.

248. Quoted in Sheaffer, Son and Artist, 211, 212.

249. O’Neill, Selected Letters, 210.

250. Philips, “Eugene O’Neill’s Fateful Maine Interlude,” 99.

251. Harold De Polo, “Meet Eugene O’Neill—Fisherman,” Outdoor America, May 1928, 5–8.

252. Harold de Polo, TS, explanation for inscribed copy of The Great God Brown, January 16, 1960, Clifton Waller Barrett Library of American Literature.

253. Signed copy of The Great God Brown, from the five-volume set “The Great God Brown,” “The Fountain,” “The Moon of the Caribbees” and Other Plays (New York: Boni and Liveright, 1926), inscribed to Harold de Polo, Clifton Waller Barrett Library of American Literature.

254. O’Neill, “As Ever, Gene,” 72.

255. O’Neill, Selected Letters, 210, 201, 209; O’Neill, “As Ever, Gene,” 73. After their breakup in 1926, the Experimental Theatre, Inc., would carry on without O’Neill but under Macgowan and Jones’s leadership for another three and a half seasons.

256. King, “A Wind Is Rising,” 215, 253, 269.

257. Quoted in Sheaffer, Son and Artist, 233.

258. O’Neill, Work Diary, July through September, 1926.

259. Ibid., October through November, 1926.

260. King, “A Wind Is Rising,” 238.

261. Waters, Eugene O’Neill and Family, 53–54, 59, 60; King, “A Wind Is Rising,” 217.

262. O’Neill, Selected Letters, 226, 231.

263. Ibid., 229.

264. O’Neill, “The Theatre We Worked For,” 128.

265. O’Neill, Selected Letters, 238.

266. Richard Watts Jr., “Realism Doomed, O’Neill Believes,” New York Herald Tribune, February 5, 1928, sec. 7, 2; O’Neill, “As Ever, Gene,” 75; Light, “Parade of Masks.”

267. See Floyd, Eugene O’Neill at Work, 181; and Harley Hammerman, introductory note to “Autograph Manuscript, 1 page,” Hammerman Collection, http://eoneill.com/manuscripts/27200.htm.

268. Eugene O’Neill to Kenneth Macgowan, April 27, 1928 (incomplete), Sheaffer-O’Neill Collection.

269. O’Neill, Selected Letters, 312.

270. Eugene O’Neill, “Autograph Manuscript, 1 page,” Hammerman Collection, http://eoneill.com/manuscripts/27200.htm.

271. Quoted in Floyd, Eugene O’Neill at Work, 181.

272. O’Neill, Selected Letters, 239, 240.

273. Ibid., 164.

274. Ibid., 150n2.

275. Ibid., 244.

276. Lawrence Langner, The Magic Curtain: The Story of a Life in Two Fields, Theatre and Invention, by the Founder of the Theatre Guild (New York: E. P. Dutton, 1951), 232.

277. Ibid. This Cine-Kodak film is located at Yale’s Beinecke Library, Eugene O’Neill Collection.

278. Quoted in Sheaffer, Son and Artist, 253.

279. Quoted in King, Another Part of a Long Story, 155.

280. O’Neill, Selected Letters, 249, 251–52.

281. King, “A Wind Is Rising,” 244.

282. Ibid., 255, 261, 259.

283. O’Neill, Selected Letters, 229. This is O’Neill’s paraphrase of her letter to him.

284. King, “A Wind Is Rising,” 294.

285. During her absence that December and January, Finn Mac Cool was shot and killed by a neighbor for invading his chicken coop once too often. The dog was “Shane’s best friend,” Shane’s daughter Sheila wrote in 2008. “Seven-year-old Shane was all alone to deal with the death of his dog. I now know why Shane was so depressed all the time” (Sheila O’Neill, afterword to More of a Long Story, http://www.eoneill.com/library/more/afterword.htm).

286. Quoted in King, Another Part of a Long Story, 266n4.

287. Quoted in Sheaffer, Son and Artist, 280.

288. O’Neill, “The Theatre We Worked For,” 34, 51; Alexander, Eugene O’Neill’s Creative Struggle, 42.

289. Kelcey Allen, “Marco Millions Is Poignant O’Neill Satire,” Women’s Wear Daily, January 10, 1928, sec. 1, 4, quoted in Clark, Eugene O’Neill, 109; Floyd, Plays of Eugene O’Neill, 167; Bruce Gould, “At the Playhouses: O’Neill Takes a Crack at Babbitt,” Wall Street News, January 12, 1928, 4.

290. Quoted in Bennett Cerf, At Random: The Reminiscences of Bennett Cerf (New York: Random House, 1977), 83.

291. J. Brooks Atkinson, “Strange Interlude Plays Five Hours,” New York Times, January 31, 1928, 28.

292. Quoted in Sheaffer, Son and Artist, 287.

293. In his 1925 work diary, O’Neill unambiguously wrote, “He is bisexual” (quoted in Floyd, Eugene O’Neill at Work, 71). Ned Darrell describes him as “one of those poor devils who spend their lives trying not to discover which sex to belong to!” (CP2, 662). His name is an amalgam of two friends, the artists Charles Demuth and Marsden Hartley.

294. This argument has been convincingly argued in Brenda Murphy, “O’Neill’s America: The Strange Interlude between the Wars,” in The Cambridge Companion to Eugene O’Neill, ed. Michael Manheim (New York: Cambridge University Press, 1998), 135–47. The term “schoolboy ideals” is Murphy’s.

295. Eugene O’Neill, “Memoranda on Masks,” in The Unknown O’Neill, 426.

296. George Jean Nathan, “Eugene O’Neill as a Character in Fiction” (1929), in The Magic Mirror: Selected Writings on the Theatre by George Jean Nathan, ed. Thomas Quinn Curtiss (New York: Knopf, 1960), 107.

297. Wainscott, Staging O’Neill, 234.

298. O’Neill, Selected Letters, 247.

299. Quoted in Bogard, Contour in Time, 307n. (This Bogard Contour reference alone is to the 1972 edition; all other references are to the 1988 revised edition.)

300. Wainscott, Staging O’Neill, 235.

301. Sheaffer, Son and Artist, 287, 288; Thomas Van Dycke, “9-Act O’Neill Drama Opens,” New York Morning Telegraph, January 31, 1928, 5; Dudley Nichols, “The New Play,” New York World, January 31, 1928, 11.

302. George Jean Nathan, “Ervine Encore,” American Mercury, February 1929, 246; Arthur H. Nethercot, “The Psychoanalyzing of Eugene O’Neill,” Modern Drama 1, no. 3 (1960): 244; Alan Dale, “O’Neill Play of Nine Acts and Six Hours Reviewed by Dale,” New York American, January 31, 1928, 9; Heywood Broun, “It Seems to Me,” New York World, March 4, 1928; O’Neill, Selected Letters, 189.

303. These scrapbooks are at the Beinecke Library.

304. Richard Watts Jr., “Realism Doomed, O’Neill Believes,” New York Herald Tribune, February 5, 1928, sec. 7, 2.

305. George Jean Nathan, “Eugene O’Neill” (1932), in Estrin, Conversations with Eugene O’Neill, 132.

306. R. A. Parker, “An American Dramatist Developing” (1921), in J. Y. Miller, ed., Playwright’s Progress: O’Neill and the Critics (Chicago: Scott, Foresman, 1965), 28–29.

307. Joseph Wood Krutch, “Drama: Strange Interlude,” Nation, February 15, 1928, 192.

308. Quoted in Arthur Gelb, “Onstage He Played the Novelist,” New York Times, August 30, 1964, book review sec. 1.

309. O’Neill, Selected Letters, 247.

310. Claudia Wilsch Case, “What They Really Saw: Using Archives to Reconstruct the Censored Performance of Eugene O’Neill’s Strange Interlude,” Laconics 5 (2010), http://www.eoneill.com/library/laconics/5/5c.htm.

311. Alexander, Eugene O’Neill’s Creative Struggle, 126; Case, “What They Really Saw”; “Rejects Revision of O’Neill Play: Boston Mayor Says Strange Interlude ‘Glorifies an Abject Code of Morals,’” New York Times, September 24, 1929; Case, “What They Really Saw.”

312. Quoted in John H. Houchin, Censorship of the American Theatre in the Twentieth Century (Cambridge: Cambridge University Press, 1997), 115.

313. Quoted in Edward Doherty, “Boston Bans Strange Interlude: A Look at a Problem of Puritanism,” Liberty, November 16, 1929.

314. Case, “What They Really Saw.” Regardless of a widespread distaste for Boston’s censorship policies, they would remain in force as late as 1970. Also see Houchin, Censorship, 115.

315. “Providence Bans O’Neill Play,” New York Herald Tribune, April 20, 1930.

316. Quoted in Alexander, Eugene O’Neill’s Creative Struggle, 125.

317. Basso, “Tragic Sense—II,” 44; O’Neill, Selected Letters, 297.

318. King, “A Wind Is Rising,” 304.

319. Ibid., 305.

ACT IV: Full Fathom Five

Notes to pp. 349–50: retreat from reality (Eleanor Flexner, American Playwrights, 1918–1938: The Theatre Retreats from Reality [New York: Simon and Schuster, 1938]); “blind alleys” (Eugene O’Neill, Selected Letters of Eugene O’Neill, ed. Travis Bogard and Jackson R. Bryer [New Haven: Yale University Press, 1988], 559); “There is something to be said for the Mad Twenties” (O’Neill, Selected Letters, 524); “O’Neill gave birth to American theatre” (Gore Vidal, “Tennessee Williams: Someone to Laugh at the Squares With,” in United States: Essays, 1952–1992 [New York: Random House, 1993], 449).

1. Quoted in Louis Sheaffer, O’Neill: Son and Artist (Boston: Little, Brown, 1973), 292.

2. O’Neill, Selected Letters, 278, 277.

3. Quoted in William Davies King, Another Part of a Long Story: Literary Traces of Eugene O’Neill and Agnes Boulton (Ann Arbor: University of Michigan Press, 2010), 263n21.

4. “The Theatre We Worked For”: The Letters of Eugene O’Neill to Kenneth Macgowan, ed. Travis Bogard and Jackson R. Bryer (New Haven: Yale University Press, 1982), 174; O’Neill, Selected Letters, 305.

5. William Davies King, ed., “A Wind Is Rising”: The Correspondence of Agnes Boulton and Eugene O’Neill (Madison, N.J.: Fairleigh Dickinson University Press, 2000), 307; O’Neill, Selected Letters, 278.

6. Barrett H. Clark, Eugene O’Neill: The Man and His Plays, rev. ed. (New York: Dover, 1947), 117.

7. “The Art of Making Masks Revealed,” Pasadena Evening Post, May 10, 1928, 2.

8. Kenneth Macgowan, “New Line for O’Neill in Lazarus Laughed,” New York Telegram, January 14, 1927.

9. O’Neill, Selected Letters, 257, 365.

10. George C. Warren, “Lazarus Laughed Produced on Coast,” New York Times, April 10, 1928, 33; Katherine T. Von Blon, “Lazarus Written Not from Imagination, but from Life,” Los Angeles Times, April 29, 1928, C17.

11. O’Neill, Selected Letters, 365; “Premiere of Lazarus Laughed This Evening to Mark Climax of Preparation at Playhouse,” Pasadena Star-News, April 9, 1928, 9; George C. Warren, “Play at Pasadena Received with Rousing Acclaim,” San Francisco Chronicle, April 15, 1928, 1D.

12. King, Another Part of a Long Story, 313; King, “A Wind Is Rising,” 313.

13. King, “A Wind Is Rising,” 170; King, Another Part of a Long Story, 170.

14. Quoted in Sally Cline, Zelda Fitzgerald: Her Voice in Paradise (New York: Arcade, 2004), 125.

15. King, Another Part of a Long Story, 169; King, “A Wind Is Rising,” 310, 312.

16. King, “A Wind Is Rising,” 314; O’Neill, Selected Letters, 298, 319.

17. Dorothy Commins, ed., “Love and Admiration and Respect”: The O’Neill-Commins Correspondence (Durham, N.C.: Duke University Press, 1986), 32, 34; O’Neill, “The Theatre We Worked For,” 182.

18. O’Neill, Selected Letters, 296.

19. Ibid., 295.

20. See ibid., 302, 315. William Davies King argues that the father was likely Boulton’s Breezy Stories editor Courtland Young (Another Part of a Long Story, 189), and this has since been substantiated by Boulton’s niece Dallas Cline in her recent memoir A Formidable Shadow: The O’Neill Connection (eoneill.com, 2014).

21. Quoted in “Eugene O’Neill’s Wife Sues for Divorce in Reno,” New York Herald Tribune, July 2, 1929.

22. Kathleen O’Neill v. Eugene G. O’Neill, County Clerk’s Index #1673, Supreme Court, Westchester County, Westchester County Clerk’s Office, White Plains, N.Y., 1912.

23. O’Neill, Selected Letters, 299.

24. Sheaffer, Son and Artist, 301.

25. Quoted in William Davies King, ed., “The Port Saïd Incident: O’Neill and Carlotta Monterey at Sea,” Eugene O’Neill Review 33, no. 2 (2012): 235.

26. O’Neill, Selected Letters, 307–8.

27. Quoted in King, “A Wind Is Rising,” 282.

28. Daniel Aaron, Writers on the Left: Episodes in American Literary Communism (New York: Harcourt, Brace and World, 1961), 99–102. “I believe The New Masses will bear the same relationship to the commercial press as the experimental theatre does to Broadway,” O’Neill wrote on behalf of the venture. “My blessing and lustiest cheers!” (Quoted in ibid., 410).

29. Quoted in Virginia Floyd, ed., Eugene O’Neill at Work: Newly Released Ideas for His Plays (New York: Frederick Ungar, 1981), 125. Critics also recognized the thematic and titular parallels between Dynamo and Henry Adams’s chapter in The Education of Henry Adams, “The Dynamo and the Virgin”; see Joseph Wood Krutch, “The Virgin and the Dynamo,” Nation, February 27, 1929, 264, 266; and see Euphemia Van Rennselaer Wyatt, “Plays of Some Importance,” Catholic World, April 1929, 80–82. O’Neill hadn’t read Adams in years, and it clearly wasn’t in the forefront of his mind at the time of composition (see O’Neill, Selected Letters, 332).

30. Quoted in Floyd, Eugene O’Neill at Work, 126.

31. O’Neill, Selected Letters, 308. In this same letter, O’Neill suggests that Gold forget about writing short stories and write “a wonderful thing on East Side life … as much or as little disguised as you wished.” Gold followed his advice and immediately began work on his groundbreaking roman à clef about Jewish life on the Lower East Side of Manhattan, Jews without Money (1930).

32. Eugene O’Neill, “Suggestions, Instructions, Advice, along with Sundry Snooty Remarks and Animadversions as to the Modern Theatre,” September 10, 1928, Sheaffer-O’Neill Collection, Linda Lear Center for Special Collections and Archives, Connecticut College, New London.

33. O’Neill, Selected Letters, 301.

34. Ibid., 311.

35. Quoted in Sheaffer, Son and Artist, 217.

36. Quoted in Commins, “Love and Admiration and Respect,” 40.

37. Ibid., 33.

38. Quoted in King, “A Wind Is Rising,” 320.

39. Commins, “Love and Admiration and Respect,” 41.

40. Quoted in Floyd, Eugene O’Neill at Work, 170.

41. King, “Port Saïd Incident,” 242; O’Neill, Selected Letters, 336; King, “Port Saïd Incident,” 242.

42. Although the newspapers identified Renner as Austrian, both Monterey and O’Neill referred to the Renners as Hungarian (King, “Port Saïd Incident,” 244; O’Neill, Selected Letters, 405).

43. William Weer, “Eugene O’Neill, Fleeing Prying Public Eye, Appears to Be Reverting to Old Days When He Trod the Roads of the World to Romance,” Brooklyn Daily Eagle, December 23, 1928, A7.

44. Quoted in Sheaffer, Son and Artist, 314.

45. O’Neill, Selected Letters, 337.

46. King, “Port Saïd Incident,” 247, 242. Carlotta Monterey’s diaries are not entirely reliable. Monterey had a tendency to revise the past in her own and sometimes O’Neill’s favor; therefore, as a source these diaries require either corroboration or a higher than usual standard of credibility.

47. Quoted in Sheaffer, Son and Artist, 314.

48. Ibid., 315–16.

49. King, “Port Saïd Incident,” 247; Sheaffer, Son and Artist, 316–17; King, “Port Saïd Incident,” 247, 248.

50. “O’Neill Still in Shanghai, ‘Disappearance Act’ Hoax,” New York Evening Post, December 18, 1928, 8; “Eugene O’Neill Admits Identity: Shows Passport at Manila Before Sailing,” New York Sun, December 19, 1928, 41; “O’Neill in Manila, Fails to Find Rest,” New York Evening Post, December 19, 1928, 2.

51. Quoted in Sheaffer, Son and Artist, 316–18. See also “O’Neill Still in Shanghai.”

52. O’Neill, Selected Letters, 324; “O’Neill in Manila”; “Eugene O’Neill Admits Identity.”

53. Quoted in Sheaffer, Son and Artist, 319.

54. King, “Port Saïd Incident,” 252–53.

55. Quoted in Sheaffer, Son and Artist, 322.

56. O’Neill, Selected Letters, 323–24.

57. Ibid., 323.

58. Quoted in Floyd, Eugene O’Neill at Work, 210.

59. King, “Port Saïd Incident,” 249.

60. Sheaffer, Son and Artist, 317, 319–21, 326.

61. Ibid., 278.

62. King, “Port Saïd Incident,” 257, 258.

63. Quoted in Sheaffer, Son and Artist, 322.

64. Edna Kenton to Carl Van Vechten, n.d., Sheaffer-O’Neill Collection.

65. Eugene O’Neill, “As Ever, Gene”: The Letters of Eugene O’Neill to George Jean Nathan, ed. Nancy L. Roberts and Arthur W. Roberts (Rutherford, N.J.: Fairleigh Dickinson University Press, 1987), 90.

66. Quoted in Doris Alexander, Eugene O’Neill’s Creative Struggle: The Decisive Decade, 1924–1933 (University Park: Pennsylvania State University Press, 1992), 147.

67. O’Neill, Selected Letters, 325; George Jean Nathan, “Judging the Shows,” Judge, March 9, 1929, 18.

68. Heywood Broun, “It Seems to Me,” New York Telegram, February 14, 1929, 2nd ed., 13.

69. Nathan, “Judging the Shows,” 18.

70. O’Neill, Selected Letters, 330.

71. Ibid., 350.

72. Ibid., 323.

73. O’Neill, “As Ever, Gene,” 88; King, “A Wind Is Rising,” 227–28.

74. Agnes Boulton to Harold de Polo, May 31, 1929, Clifton Waller Barrett Library of American Literature, Albert and Shirley Small Special Collections Library, University of Virginia, Charlottesville.

75. O’Neill, Selected Letters, 336, 338, 333.

76. Sheaffer, Son and Artist, 330; O’Neill, “The Theatre We Worked For,” 188.

77. O’Neill, “The Theatre We Worked For,” 165; George Jean Nathan, “The Bright Face of Tragedy,” Cosmopolitan, August 1957, 66–69; “O’Neill Gets Chateau for 13 Years for Bride,” New York Times, July 28, 1929.

78. This title for the property has caused confusion and misidentification of the château’s actual name among scholars; but along with what I suggest in my treatment of the name in this chapter, Carlotta Monterey’s 1955 diary contains a card from the period in which the home is referred to as “du Plessis.”

79. Commins, “Love and Admiration and Respect,” 55.

80. Quoted in King, Another Part of a Long Story, 113.

81. Commins, “Love and Admiration and Respect,” 61.

82. Kenneth Macgowan, “Talk of the Town: About O’Neill,” New Yorker, September 28, 1929, 21.

83. Commins, “Love and Admiration and Respect,” 73.

84. O’Neill, “The Theatre We Worked For,” 195–97. Monterey had written Macgowan a similar note directly after the New Yorker article appeared, but that is currently lost.

85. Ibid., 196, 210.

86. “Eugene O’Neill’s Wife Sues for Divorce in Reno”; “Eugene O’Neill Wed to Miss Monterey,” New York Times, July 24, 1929.

87. Commins, “Love and Admiration and Respect,” 69.

88. Ibid., 66, 82.

89. James and Patricia Light, interview by Louis Sheaffer, November 16, 1960, Sheaffer-O’Neill Collection.

90. O’Neill, “The Theatre We Worked For,” 196–97.

91. James Light, interview by Louis Sheaffer, November 16, 1960, Sheaffer-O’Neill Collection.

92. O’Neill, “The Theatre We Worked For,” 192. Gladys Lewis would lose the suit after it went to trial on March 13, 1931. O’Neill still had to pay thousands in legal fees, and the timing of the trial doomed an offer from MGM Studios to produce Strange Interlude as Lillian Gish’s first sound film.

93. Lewys v. O’Neill, District Court, Southern District of New York, #49 F.2d 603, 1931.

94. O’Neill, Selected Letters, 341.

95. Commins, “Love and Admiration and Respect,” 130.

96. O’Neill, Selected Letters, 395.

97. Ibid., 401.

98. Commins, “Love and Admiration and Respect,” 77.

99. O’Neill, “As Ever, Gene,” 102.

100. “Eugene O’Neill, A Playwright Not without Honor,” New York Evening Post, January 7, 1928, 8.

101. Shivaun O’Casey, “Sean and O’Neill,” in “Celtic Twilight: 21st-Century Irish-Americans on Eugene O’Neill,” Drunken Boat #12, http://www.drunkenboat.com/db12/04one/ocasey/ocasey2.php.

102. Quoted in “Shaw Says He’s out of Date; Pokes Fun at U.S. Authors,” New York Evening Post, September 27, 1924, 6.

103. Quoted in Louis Sheaffer, Son and Playwright (Boston: Little, Brown, 1968), 434.

104. Selected Letters, 407.

105. “O’Neill, A Playwright Not without Honor.”

106. O’Neill, “As Ever, Gene,” 102.

107. O’Neill, Selected Letters, 335, 339.

108. Floyd, Eugene O’Neill at Work, 185–86; O’Neill, “The Theatre We Worked For,” 168.

109. O’Neill, “As Ever, Gene,” 118; “O’Neill Back in France: American Worked on Next Play during Sojourn in the Canaries,” New York Times, April 15, 1931.

110. Sheaffer, Son and Artist, 357; O’Neill, Selected Letters, 351.

111. O’Neill, “As Ever, Gene,” 102; Sheaffer, Son and Artist, 523; “As Ever, Gene,” 102.

112. Quoted in Tom Cerasulo, “Film Adaptations,” in Critical Companion to Eugene O’Neill: A Literary Reference to His Life and Work, ed. Robert M. Dowling (New York: Facts on File, 2009), 2:592.

113. O’Neill, “The Theatre We Worked For,” 191; Sheaffer, Son and Artist, 363.

114. In the past, O’Neill scholars, including myself, have thought the homes along Whale Oil Row were the architectural models for the Mannon house, since it was meant to have been built in 1830. The Shaw Mansion was built in the mid-1750s, as opposed to the 1830s and 1840s, like the houses on Whale Oil Row, but the house has a stone front with white columns and more closely matches O’Neill’s sketch for the set design.

115. O’Neill, Selected Letters, 386.

116. O’Neill, “As Ever, Gene,” 120.

117. O’Neill, Selected Letters, 390.

118. O’Neill, “As Ever, Gene,” 118.

119. Quoted in O’Neill, “The Theatre We Worked For,” 166–67.

120. “Ralph Barton Ends His Life with Pistol: Artist in Note Mourns Loss of Third Wife, Carlotta Monterey, Now Wed to Eugene O’Neill,” New York Times, May 21, 1931.

121. Ibid.

122. Bennett Cerf, At Random: The Reminiscences of Bennett Cerf (New York: Random House, 1977), 83.

123. Quoted in Sheaffer, Son and Artist, 374, 375.

124. Ibid., 375.

125. Quoted in Ernest K. Lindley, “Exile Made Him Appreciate U.S., O’Neill Admits” (1931), in Conversations with Eugene O’Neill, ed. Mark W. Estrin (Jackson: University Press of Mississippi, 1990), 109.

126. Ibid., 111.

127. Quoted in Sheaffer, Son and Artist, 376.

128. Mourning Becomes Electra was published as a book on November 2, 1931.

129. O’Neill, Selected Letters, 363.

130. Thomas Chalmers (who played Adam Brant in Mourning Becomes Electra), interview by Louis Sheaffer, n.d., Sheaffer-O’Neill Collection.

131. Quoted in Paul Sifton, “A Whale of a Play,” McCall’s, May 1932, 116.

132. Sheaffer, Son and Artist, 384; Hamilton Basso, “The Tragic Sense—III,” New Yorker, March 13, 1948, 44.

133. John Anderson, “O’Neill’s Trilogy: Playwright’s Latest Work Acclaimed as His ‘Masterpiece,’” New York Evening Journal, October 27, 1931, 26.

134. Ibid.

135. John Mason Brown. “The Play: Mourning Becomes Electra, Eugene O’Neill’s Exciting Trilogy, Is Given an Excellent Production at the Guild,” New York Evening Post, October 27, 1931, 12; George Jean Nathan, “The Theatre of George Jean Nathan,” Judge, November 21, 1931, 16.

136. Elizabeth Jordan, “Dramatics: Mr. O’Neill and Others,” America, November 28, 1931, 187; Theresa Helburn, A Wayward Quest: The Autobiography of Theresa Helburn (Boston: Little, Brown, 1960), 263; Brooks Atkinson, “Tragedy Becomes Electra,” New York Times, November 1, 1931, in The Critical Response to Eugene O’Neill, ed. John H. Houchin, Critical Responses in Arts and Letters, no. 5 (Westport, Conn.: Greenwood, 1993), 126.

137. Quoted in Sheaffer, Son and Artist, 391.

138. O’Neill, Selected Letters, 403–4.

139. Quoted in George Jean Nathan, “Eugene O’Neill” (1932), in Estrin, Conversations with Eugene O’Neill, 127–28.

140. “O’Neill Goes Mildly Pirate,” House & Garden, January 1934, 19–21; Helburn, Wayward Quest, 264.

141. Quoted in Sheaffer, Son and Artist, 377.

142. Quoted in Alexander, Eugene O’Neill’s Creative Struggle, 172.

143. Quoted in Hamilton Basso, “The Tragic Sense—II,” New Yorker, March 6, 1948, 46.

144. Commins, “Love and Admiration and Respect,” 139.

145. O’Neill, Selected Letters, 408.

146. Quoted in Alexander, Eugene O’Neill’s Creative Struggle, 181.

147. Commins, “Love and Admiration and Respect,” 136.

148. O’Neill, Selected Letters, 404.

149. Commins, “Love and Admiration and Respect,” 75.

150. Carlotta Monterey Diary, December 27, 1933, O’Neill Papers, Beinecke Library, Yale University, New Haven.

151. Eugene O’Neill to Robert Sisk, December 27, 1932, Clifton Waller Barrett Library of American Literature.

152. Commins, “Love and Admiration and Respect,” 104, 149.

153. Cerf, At Random, 81.

154. Quoted in Sheaffer, Son and Artist, 303, 417; see Dorothy Commins, What Is an Editor: Saxe Commins at Work (Chicago: University of Chicago Press, 1978).

155. O’Neill, Selected Letters, 410, 506.

156. Commins, “Love and Admiration and Respect,” 164.

157. O’Neill addresses his letters “Faust, New York,” but that’s the name of a smaller post office within the town of Tupper Lake, not a town itself. The post office was named Faust to distinguish it from the main Tupper Lake post office. The owner of Big Wolf Camp was F. L. Wurzburg, House & Garden’s business manager.

158. Whitney Bolton, “George M. Cohan is the thing in O’Neill’s Ah, Wilderness!” New York Morning Telegraph, October 4, 1933, 3; Elizabeth Jordan, “Mr. O’Neill Soft-Pedaled,” America, October 28, 1933, 90.

159. O’Neill, “As Ever, Gene,” 153; Richard Watts Jr., “O’Neill Is Eager to See Cohan in Ah, Wilderness!” (1933), in Estrin, Conversations with Eugene O’Neill, 134; Sheaffer, Son and Artist, 422.

160. John Mason Brown, “The Play: Mr. Cohan Gives a Magnificent Performance in Mr. O’Neill’s Mellow Comedy, Ah, Wilderness! at the Guild,” New York Evening Post, October 3, 1933, 26.

161. Since its 1933 premiere, Ah, Wilderness! has seen two film adaptations, one a musical entitled Summer Holiday (1948), and was later adapted into a Broadway musical, Take Me Along (1959), and a television miniseries.

162. Quoted in The Unknown O’Neill: Unpublished and Unfamiliar Writings of Eugene O’Neill, ed. Travis Bogard (New Haven: Yale University Press, 1988), 381.

163. Quoted in Sheaffer, Son and Artist, 256.

164. O’Neill, “As Ever, Gene,” 133.

165. Ibid.

166. “Memoranda on Masks” (November 1932), “Second Thoughts” (December 1932), and “A Dramatist’s Notebook” (January 1933).

167. Eugene O’Neill, “Memoranda on Masks,” in Bogard, Unknown O’Neill, 407.

168. Ibid., 408. O’Neill confirms this in a letter to George Jean Nathan (O’Neill, “As Ever, Gene,” 148).

169. O’Neill, Selected Letters, 403.

170. Quoted in Alexander, Eugene O’Neill’s Creative Struggle, 202.

171. Travis Bogard contends that “the real drama was O’Neill’s attempt to write the play” (Contour in Time: The Plays of Eugene O’Neill, rev. ed. [New York: Oxford University Press, 1988], 328), a drama Stephen A. Black thoroughly sets down in his psychoanalytic biography (Eugene O’Neill: Beyond Mourning and Tragedy [New Haven: Yale University Press, 1999], 377–87).

172. Quoted in John Mason Brown, “Two on the Aisle: Mr. O’Neill and His Champions—Days Without End Finds Some Tolerant but Sturdy Defenders,” New York Evening Post, January 22, 1934.

173. John Mason Brown, “The Play: The Theatre Guild Presents Earle Larimore and Stanley Ridges in Mr. O’Neill’s Days Without End,” New York Evening Post, January 9, 1934, 17; Alexander, Eugene O’Neill’s Creative Struggle, 207; Brooks Atkinson, “The Play: Days Without End,” New York Times, January 9, 1934, 19; Bernard Sobel, “Eugene O’Neill’s New Play Opens at Henry Miller,” New York Daily Mirror, January 10, 1934, 24.

174. Monterey Diary, September 18, 1933.

175. Oscar Cargill, introduction to O’Neill and His Plays: Four Decades of Criticism, ed. Oscar Cargill, N. Bryllion Fagin, and William J. Fisher (New York: New York University Press, 1961), 10.

176. “O’Neill Produces the Great Catholic Play of the Age,” Queen’s Work, January 1934; Brown, “Two on the Aisle: Mr. O’Neill and His Champions”; Gerard B. Donnelly, “O’Neill’s New Catholic Play,” America, January 13, 1934, 346–47.

177. Quoted in Edward L. Shaughnessy, Down the Nights and Down the Days: Eugene O’Neill’s Catholic Sensibility (Notre Dame: University of Notre Dame Press, 2000), 133.

178. Monterey Diary, April 30, 1933, June 28, 1933.

179. Benjamin De Casseres, “‘Denial Without End’: Benjamin De Casseres’s Parody of Eugene O’Neill’s ‘God Play’ Days Without End,” ed. Robert M. Dowling, Eugene O’Neill Review 30 (2008): 145–59.

180. Croswell Bowen, “The Black Irishman” (1946), in Cargill, Fagin, and Fisher, O’Neill and His Plays, 80.

181. O’Neill, Selected Letters, 425, 426.

182. Ibid., 433.

183. Brooks Atkinson, “On Days Without End,” New York Times. January 14, 1934; Dorothy Day, “Told in Context,” ca. 1958, Dorothy Day Papers, series D-3, box 7, file 2, Special Collections and University Archives, Raynor Memorial Libraries, Marquette University, Milwaukee, Wis.

184. O’Neill, Selected Letters, 424.

185. Quoted in Floyd, Eugene O’Neill at Work, 162–63. This letter is edited with brackets to show cross-outs by O’Neill, courtesy of Virginia Floyd, but I have deleted some confusing formatting here.

186. Quoted in Cargill, introduction to O’Neill and His Plays, 10. See Shaughnessy, Down the Nights and Down the Days: Eugene O’Neill’s Catholic Sensibility (Notre Dame, Ind.: University of Notre Dame Press, 1996), for a probing and comprehensive analysis, including a complete chapter on Days Without End, of O’Neill’s relationship to Catholicism.

187. O’Neill, “The Theatre We Worked For,” 208; Floyd, Eugene O’Neill at Work, 393.

188. “Eugene O’Neill Ill, Unable to Testify,” New York Times, April 13, 1934; “O’Neill Loses Auto Suit,” New York Times, April 17, 1934.

189. Eugene O’Neill to Sherwood Anderson, April 23, 1934, Contempo Records, 1930–1934, University of North Carolina Library, Chapel Hill.

190. O’Neill, “The Theatre We Worked For,” 209, 211.

191. O’Neill, Selected Letters, 435–37.

192. Arthur Gelb and Barbara Gelb, O’Neill (1962; rev. ed., New York: Harper and Row, 1973), 439–40.

193. This Marx Brothers line is a double allusion; the “thought aside” method is O’Neill’s from Strange Interlude, but the line itself is a play on John Gay’s 1728 The Beggar’s Opera: “How happy could I be with either, Were t’ other dear charmer away!”

194. O’Neill, Selected Letters, 443. Jack Benny’s program was broadcast in May 1937.

195. Ibid., 431.

196. Ibid., 446.

197. “Anna Christie,” videocassette, produced and directed by Clarence Brown (coproduced by Paul Bern and Irving Thalberg) (MGM, 1930). “Anna Christie” was eventually made into the Broadway musical New Girl in Town in 1957.

198. Virginia Floyd, The Plays of Eugene O’Neill: A New Assessment (New York: Frederick Ungar, 1985), 201n; O’Neill, Selected Letters, 364; Alexander, Eugene O’Neill’s Creative Struggle, 127; O’Neill, “The Theatre We Worked For,” 207.

199. Zoe Jones, M.D. (current owner of Casa Genotta), interview by the author, May 24, 2013. See also Nathan, “The Bright Face of Tragedy,” 66–69.

200. Basso, “The Tragic Sense—III,” 42.

201. Commins, “Love and Admiration and Respect,” 144; O’Neill, “As Ever, Gene,” 127; Sheaffer, Son and Artist, 400.

202. Monterey Diary, December 24, 1935.

203. Quoted in Sheaffer, Son and Artist, 448. Sheaffer does not refer to O’Neill’s lapse.

204. Monterey Diary, February 21 and 22, 1936.

205. Albert Rothenberg, M.D., “Correspondence,” New England School of Medicine 343, no. 10 (2000): 741.

206. Commins, “Love and Admiration and Respect,” 218.

207. P. K. Brask, “A Tale of Possessors Self-Dispossessed,” in Dowling, Critical Companion to Eugene O’Neill, 2:748. For the definitive explication of the Cycle, see Donald C. Gallup, Eugene O’Neill and His Eleven-Play Cycle, “A Tale of Possessors Self-Dispossessed” (New Haven: Yale University Press, 1998).

208. Quoted in Floyd, The Plays of Eugene O’Neill, 537.

209. Quoted in Joel Pfister, Staging Depth: Eugene O’Neill and the Politics of Psychological Discourse (Chapel Hill: University of North Carolina Press, 1995), 182.

210. O’Neill, Selected Letters, 452.

211. Ibid., 451.

212. Ibid., 452.

213. Ibid., 416.

214. Monterey Diary, August 26 and 27, 1936.

215. Ibid., November 12, 1936.

216. O’Neill, Selected Letters, 439; O’Neill, “As Ever, Gene,” 179, 180.

217. “Eugene O’Neill Receives Nobel Prize for Literature,” New York Evening Post, November 12, 1936, 1; O’Neill, Selected Letters, 454; “Nobel Prize Awarded to O’Neill,” New York Times, November 13, 1936.

218. O’Neill, Selected Letters, 458.

219. Ibid., 455.

220. Eugene O’Neill, “The Nobel Prize Acceptance Letter,” in Bogard, Unknown O’Neill, 427–28.

221. O’Neill, Selected Letters, 456.

222. O’Neill, “As Ever, Gene,” 164.

223. Brenda Murphy, “Nobel Prize in Literature,” in Dowling, Critical Companion to Eugene O’Neill, 2:680.

224. “Nobel Prize Awarded to O’Neill.” O’Neill disputed that he received twice what other laureates had because of the doubling of prizes (O’Neill, Selected Letters, 554).

225. Per Hallström, “Award Ceremony Speech,” December 10, 1936, Nobel Prize Award Ceremony, Nobel Prizes and Laureates, http://www.nobelprize.org/nobel_prizes/literature/laureates/1936/press.html; Helburn, Wayward Quest, 279.

226. O’Neill, “As Ever, Gene,” 164.

227. O’Neill, “The Theatre We Worked For,” 228; Helburn, Wayward Quest, 268; O’Neill, Selected Letters, 465.

228. Kathryne Albertoni, interview by the author, October 6, 2010.

229. Kathryne Albertoni, Remembering Eugene O’Neill: A Memoir by Kathryne Albertoni, RN (privately printed, 2006), 6, in the author’s possession. Heinold’s First and Last Chance Saloon inspired scenes and characters in several of Jack London’s works, including The Sea Wolf, The Call of the Wild and, most evidently, his memoir of the drinking life, John Barleycorn.

230. O’Neill, “The Theatre We Worked For,” 234.

231. O’Neill, “As Ever, Gene,” 187.

232. O’Neill, Selected Letters, 467.

233. Commins, “Love and Admiration and Respect,” 181.

234. Sheaffer, Son and Artist, 471, 472.

235. Helburn, Wayward Quest, 277.

236. O’Neill, Selected Letters, 469.

237. Jane Scovell, Oona: Living in the Shadows (New York: Warner, 1998), 77.

238. O’Neill, Selected Letters, 465.

239. O’Neill, “As Ever, Gene,” 190.

240. O’Neill expanded the Cycle backward and forward in time, eventually arriving at eleven planned plays that could be played in repertory and separately (after their initial runs). Their final titles, which he’d shuffled around over time, in order are: Give Me Liberty and—, The Rebellion of the Humble, Greed of the Meek, And Give Me Death, A Touch of the Poet, More Stately Mansions, The Calms of Capricorn, The Earth Is the Limit, Nothing Is Lost but Honor, The Man on Iron Horseback, and The Hair of the Dog.

241. O’Neill, Selected Letters, 483.

242. Albertoni, interview.

243. O’Neill, Selected Letters, 493.

244. Albertoni, interview.

245. Albertoni, Remembering Eugene O’Neill, 11.

246. Scovell, Oona, 79.

247. Ibid.

248. Quoted in Croswell Bowen, The Curse of the Misbegotten: A Tale of the House of O’Neill (New York: McGraw-Hill, 1959), 267.

249. Cerf, At Random, 86; James Light, interview by Louis Sheaffer, ca. 1959, Sheaffer-O’Neill Collection; Sheaffer, Son and Artist, 419–20; Cerf, At Random, 87; O’Neill, “The Theatre We Worked For,” 250.

250. Quoted in Sheaffer, Son and Artist, 480.

251. O’Neill, Selected Letters, 486. He was commenting on Sean O’Casey’s antifascist play The Star Turns Red (1940).

252. Ibid., 507, 486.

253. Ibid., 534.

254. Quoted in Floyd, Eugene O’Neill at Work, xix–xx.

255. O’Neill, Selected Letters, 509, 515.

256. Ibid., 508, 510.

257. Quoted in Helburn, Wayward Quest, 275.

258. O’Neill, “The Theatre We Worked For,” 256, 257.

259. My thanks to poet (and friend) Dan Donaghy, whose reading at the Harriet Beecher Stowe Center in Hartford, Connecticut, on June 27, 2010, inspired this connection of The Iceman Cometh, and O’Neill’s state of mind while writing it, to the ancient myth of Pandora’s box.

260. O’Neill, Selected Letters, 501.

261. Normand Berlin, “Endings,” in Modern Critical Interpretations: Eugene O’Neill’s “The Iceman Cometh,” ed. Harold Bloom (New York: Chelsea House, 1987), 99.

262. O’Neill, Selected Letters, 502.

263. Quoted in John H. Raleigh, introduction to Twentieth Century Interpretations of “The Iceman Cometh”: A Collection of Critical Essays, ed. John H. Raleigh (Englewood Cliffs, N.J.: Prentice-Hall, 1968), 11.

264. O’Neill, Selected Letters, 501, 511.

265. Ibid., 537.

266. Ibid., 508–10.

267. Quoted in Floyd, Eugene O’Neill at Work, 260.

268. O’Neill, Selected Letters, 475, 476.

269. Commins, “Love and Admiration and Respect,” 150, 189.

270. Travis Bogard, foreword to “The Last Will and Testament of Silverdene Emblem O’Neill,” by Eugene O’Neill (1940), in Bogard, Unknown O’Neill, 432.

271. O’Neill, “The Last Will and Testament of Silverdene,” 433.

272. Bogard, foreword to “The Last Will and Testament of Silverdene.”

273. Commins, “Love and Admiration and Respect,” 192.

274. O’Neill, Selected Letters, 507, 519.

275. Quoted in Normand Berlin, Eugene O’Neill (New York: Grove, 1982), 88.

276. Quoted in Floyd, Plays of Eugene O’Neill, 549n.

277. O’Neill, Selected Letters, 506–7.

278. Quoted in Sheaffer, Son and Artist, 517.

279. Quoted in Virginia Floyd, ed., Eugene O’Neill: A World View (New York: Fredrick Ungar, 1979), 296.

280. Ingrid Bergman, “A Meeting with Eugene O’Neill,” in Floyd, Eugene O’Neill: A World View, 294.

281. Ibid., 295.

282. Clive Barnes, “Theater: O’Neill’s More Stately Mansions Opens,” New York Times, November 1, 1967, 40.

283. Bergman, “A Meeting with Eugene O’Neill,” 295. Yale University Press published Gierow’s shortened version of the play in English in 1964. Oxford University Press published the first complete unexpurgated edition in September 1988, edited and with an introduction by Martha Gilman Bower.

284. O’Neill, Selected Letters, 528–29.

285. “The Visit of Malatesta” and “The Last Conquest.”

286. Commins, “Love and Admiration and Respect,” 204; O’Neill, Selected Letters, 538, 531.

287. O’Neill, Selected Letters, 531–32.

288. Ibid., 531.

289. Quoted in Judith Barlow, Final Acts: The Creation of Three Late O’Neill Plays (Athens: University of Georgia Press, 1985), 114.

290. O’Neill, Selected Letters, 532.

291. Quoted in Barlow, Final Acts, 116.

292. O’Neill, “As Ever, Gene,” 220.

293. Melville Bernstein to Louis Sheaffer, January 7, 1982, in Dallas Cline (a.k.a. D. C. Thomas), Formidable Shadow. Quoted in Sheaffer, Son and Artist, 538.

294. Eugene O’Neill Jr., “The Last Name Is Not Junior,” TS carbon, corrected, 1948, pp. 2, 7, Eugene O’Neill, Jr. Collection, Beinecke Library.

295. Quoted in Scovell, Oona, 87; David Shields and Shane Salerno, eds. Salinger (New York: Simon and Schuster, 2013), 74; quoted in Scovell, Oona, 87.

296. Earl Wilson, “Gene O’Neill Should See Daughter Now,” New York Post, April 13, 1942.

297. Eugene O’Neill to Oona O’Neill, November 19, 1942, Sheaffer-O’Neill Collection.

298. O’Neill, Selected Letters, 529.

299. Scovell, Oona, 100.

300. Eugene O’Neill to Oona O’Neill, November 19, 1942.

301. Ibid.

302. Scovell, Oona, 102.

303. Quoted in ibid., 105, 106.

304. Oona’s children with Chaplin were named Geraldine, Michael, Josephine, Victoria, Eugene, Jane, Annette, and Christopher.

305. Albertoni, interview; Commins, “Love and Admiration and Respect,” 212.

306. Basso, “Tragic Sense—III,” 42.

307. O’Neill, “The Theatre We Worked For,” 264.

308. O’Neill, Selected Letters, 566.

309. Quoted in O’Neill, “The Theatre We Worked For,” 219.

310. Quoted in Helburn, Wayward Quest, 276.

311. O’Neill, “The Theatre We Worked For,” 217.

312. Sheaffer, Son and Artist, 552, 550.

313. Monterey Diary, August 6, 1944.

314. O’Neill, “As Ever, Gene,” 230.

315. O’Neill, Selected Letters, 566.

316. Quoted in Sheaffer, Son and Artist, 555.

317. Eugene O’Neill, “To a Stolen Moment” (June 29, 1945), in Bogard, Unknown O’Neill, 376–77.

318. Albertoni, interview.

319. Sheaffer, Son and Artist, 558.

320. Herbert J. Stoeckel, “Memories of Eugene O’Neill,” Hartford Courant, December 6, 1953, 3, 16.

321. Commins, “Love and Admiration and Respect,” 219.

322. Eugene O’Neill, “Last Will and Testament of Eugene O’Neill,” December 5, 1945, Eugene O’Neill Papers, Beinecke Library.

323. James Agee, “The Ordeal of Eugene O’Neill” (1946), in Estrin, Conversations with Eugene O’Neill, 186; Bowen, “Black Irishman,” 82.

324. John S. Wilson, “O’Neill on the World and The Iceman” (1946), in Estrin, Conversations with Eugene O’Neill, 164.

325. Ibid.

326. Ibid., 164–65.

327. Ibid., 166.

328. Agee, “The Ordeal of Eugene O’Neill,” 185.

329. O’Neill, Selected Letters, 199.

330. Albertoni, Remembering Eugene O’Neill, 12.

331. Sheaffer, Son and Artist, 565.

332. Cerf, At Random, 87–88.

333. Quoted in Agee, “The Ordeal of Eugene O’Neill,” 185.

334. Eddie Dowling, interview by Sheaffer.

335. Ibid.; Quoted in Marlon Brando, Brando: Songs My Mother Taught Me (New York: Random House, 1994), 105–6.

336. Quoted in Paul Ryan, “Eugene O’Neill: A Hundred Years On,” Drama: The Quarterly Theatre Review 4 (1988), 27.

337. Quoted in Mary Braggiotti, “Little Girl with a Big Ideal,” New York Post, December 20, 1946, daily magazine and comic section, 1.

338. Eddie Dowling, interview by Sheaffer.

339. Karl Schriftgiesser, “The Iceman Cometh,” New York Times, October 6, 1946, 3.

340. Bowen, “ Black Irishman,” 83–84.

341. Ibid., 65.

342. Ibid., 84.

343. Ibid., 82.

344. Robert Sylvester, “O’Neill Won’t Attend Debut,” New York Daily News, October 10, 1946, 58.

345. Ward Morehouse, “The New Play: The Iceman Cometh Is Powerful Theater, Superbly Played at the Martin Beck,” New York Sun, October 10, 1946, 18; John Mason Brown, “Seeing Things: All O’Neilling,” Saturday Review of Literature, October 19, 1946, 26.

346. Quoted in Berlin, “Endings,” 103.

347. O’Neill, “Suggestions, Instructions, Advice.”

348. Robert Sylvester, “O’Neill Has a New Best Seller as Well as Another Hit Play,” New York Sunday News, October [day unknown] 1946.

349. Mary McCarthy, “Eugene O’Neill: Dry Ice,” Partisan Review, November–December 1946, 577; Joseph Wood Krutch, “Drama,” Nation, October 26, 1946, 481.

350. Carlotta Monterey, interview by Louis Sheaffer, July 29, 1962, Sheaffer-O’Neill Collection.

351. O’Neill, Selected Letters, 589.

352. Quoted in Bogard, Contour in Time, 446.

353. Mary Welch, “Softer Tones for Mr. O’Neill’s Portrait,” Theatre Arts, May 1957, 67–68.

354. Elliot Norton, “O’Neill’s New Drama,” Boston Post, February 21, 1947, 3.

355. Bud Kissel, “Show Shop: Too Much Conversation in A Moon for the Misbegotten,” Columbus Citizen, February 21, 1947, 5.

356. Quoted in ibid.

357. “O’Neill Drama Is Vile Sample of Playwriting,” Columbus Register, February 28, 1947, 2.

358. Quoted in Barlow, Final Acts, 119.

359. Quoted in Bogard, Contour in Time, 452, 452n.

360. Welch, “Softer Tones for Mr. O’Neill’s Portrait,” 67–68.

361. Quoted in Barlow, Final Acts, 119.

362. Commins, “Love and Admiration and Respect,” 222.

363. Ibid.

364. Monterey Diary, January 2, 1948.

365. O’Neill, Selected Letters, 579.

366. Sheaffer, Son and Artist, 606. See also Russel Crouse, “Extracts from the Diaries of Russel Crouse: Eugene O’Neill,” TS, Eugene O’Neill Collection, Beinecke Library. Sheaffer says he fractured his shoulder, though Crouse, Monterey, and other sources always referred to his arm.

367. Quoted in Sheaffer, Son and Artist, 606.

368. Ibid., 608.

369. Ibid., 609. Commins evidently censored this for his memoir.

370. Commins, “Love and Admiration and Respect,” 225–26.

371. O’Neill, “The Theatre We Worked For,” 265; Commins, “Love and Admiration and Respect,” 227, 228.

372. O’Neill, “Last Will and Testament of Eugene O’Neill,” October 31, 1947, and June 28, 1948, Eugene O’Neill Papers, Beinecke Library. The gravestone inscription was also included in drafts of his will from February 26, 1947, and July 28, 1947. O’Neill found inspiration for it in Edward Clerihew Bentley, ed., Biography for Beginners (London: T. Werner Laurie, 1905), 15. The full quotation reads, “What I like about Clive / Is that he is no longer alive. / There is a great deal to be said / For being dead.”

373. O’Neill, “As Ever, Gene”, 234, 236.

374. Quoted in Bowen, Curse of the Misbegotten, 335.

375. O’Neill, Selected Letters, 581.

376. Shane’s children with Givens are named Kathleen, Maura, Theodore, and Sheila.

377. Sheaffer, Son and Artist, 627.

378. O’Neill, Selected Letters, 585; Commins, “Love and Admiration and Respect,” 230; Michael Burlingame, “O’Neill Recalled Warmly,” (New London) Day, July 21, 1988, E1.

379. Commins, “Love and Admiration and Respect,” 231.

380. Ibid.

381. Bowen, Curse of the Misbegotten, 349. Kathleen Jenkins, interview by Louis Sheaffer, November 30, [no year but in the 1950 file], Sheaffer-O’Neill Collection.

382. Albertoni, Remembering Eugene O’Neill, 13.

383. Sheaffer, Son and Artist, 643.

384. Quoted in Albertoni, Remembering Eugene O’Neill, 13; O’Neill recounted Monterey’s cry of “I hear a little man calling in the wind” to his nurse Sally Coughlin after he was later admitted to Doctors Hospital in New York (Coughlin, interview by Louis Sheaffer, n.d., Sheaffer-O’Neill Collection).

385. Quoted in Sheaffer, Son and Artist, 639, 642.

386. Eugene O’Neill, “Last Will and Testament of Eugene O’Neill,” March 5, 1951, O’Neill Papers, Beinecke Library. O’Neill later claimed to have had “hardly any memory of signing it” (Eugene O’Neill to Albert B. Carey, June [?] 1951 [photocopy], private collection of Jackson R. Bryer).

387. Burlingame, “O’Neill Recalled Warmly,” E3.

388. Quoted in Sheaffer, Son and Artist, 644.

389. Ibid., 646.

390. Thalia Brewer (historian, Eugene O’Neill Foundation, Tao House), notes from interview by Maxine Edie Benedict, October 18, 1977, Sheaffer-O’Neill Collection.

391. Sheaffer, Son and Artist, 644, 646.

392. Ibid., 643, 644.

393. Albertoni, Remembering Eugene O’Neill, 14.

394. Carlotta Monterey O’Neill to Kenneth Macgowan, April 4, 1951, Sheaffer-O’Neill Collection.

395. Sally Coughlin, interview by Louis Sheaffer, n.d., Sheaffer-O’Neill Collection.

396. Quoted in Sheaffer, Son and Artist, 654.

397. Commins, “Love and Admiration and Respect,” 235.

398. Quoted in Sheaffer, Son and Artist, 659.

399. Monterey Diary, May 23, 1951.

400. Eugene O’Neill, “Last Will and Testament of Eugene O’Neill,” June 28, 1948, O’Neill Papers, Beinecke Library; Eugene O’Neill to Albert B. Carey, May 1951 [photocopy], private collection of Jackson R. Bryer. There is a note added at the bottom from Monterey: “This written (dictated) by Gene after his return to Boston and me in May 1951.”

401. Book of inscriptions by Eugene O’Neill to Carlotta Monterey O’Neill (in Carlotta’s handwriting), Billy Rose Theatre Division, New York Public Library.

402. Eugene O’Neill to Bennett Cerf, June 13, 1951, Sheaffer-O’Neill Collection.

403. Seymour Peck, “Talk with Mrs. O’Neill: Playwright’s Widow Traces Long Path Journey Travelled to the Stage,” November 4, 1956, New York Times, 3, 1.

404. Quoted in Sheaffer, Son and Artist, 668.

405. Ibid., 670; quoted in ibid., 78.

Postscript

1. Quoted in Bruce H. Price and E. P. Richardson, “The Neurologic Illness of Eugene O’Neill: A Clinicopathologic Report,” New England Journal of Medicine 342, no. 15 (2000): 1126.

2. “Transcribed Massachusetts Death Record,” Eugene O’Neill, Mass Document Retrieval, 2013; Price and Richardson, “The Neurologic Illness,” 1129.

3. Bruce H. Price, “The Eugene O’Neill Autopsy Project,” in “Celtic Twilight: 21st-Century Irish-Americans on Eugene O’Neill,” Drunken Boat #12, http://www.drunkenboat.com/db12/04one/price/price.php. Price and Richardson describe it as “cerebellar cortical atrophy” (“The Neurologic Illness”.)

4. Book of inscriptions by Eugene O’Neill to Carlotta Monterey O’Neill (in Carlotta’s handwriting), April 11, 1954, Billy Rose Theatre Division, New York Public Library. (Monterey recorded these details regarding the burial.)

5. That she bowed her head, see Louis Sheaffer, O’Neill: Son and Artist (Boston: Little, Brown, 1973), 67; that she said the Lord’s Prayer, see Michael Burlingame, “O’Neill Recalled Warmly,” (New London) Day, July 21, 1988, E3. This last reported that she dropped to her knees, but Sheaffer’s is an eyewitness account.

6. Book of inscriptions, October 20, 1953.

7. Quoted in Brenda Murphy, O’Neill: Long Day’s Journey Into Night (New York: Cambridge University Press, 2001), 4.

8. Carlotta Monterey Diary, February 25, 1954, O’Neill Papers, Beinecke Library, Yale University, New Haven. My thanks to William Davies King for calling my attention to this entry.

9. Dorothy Commins, ed., “Love and Admiration and Respect”: The O’Neill-Commins Correspondence (Durham, N.C.: Duke University Press, 1986), 239.

10. Bennett Cerf, At Random: The Reminiscences of Bennett Cerf (New York: Random House, 1977), 89.

11. “The Theatre: O’Neill’s Last Play,” Time, February 20, 1956, 89.

12. Eugene O’Neill, “Agreement: Carlotta Monterey O’Neill and Yale University, Long day’s Journey Into Night,” May 27, 1955, Eugene O’Neill Papers, Beinecke Library.

13. Eugene O’Neill to Carlotta Monterey O’Neill, trust agreement, March 3, 1952, Eugene O’Neill Papers, Beinecke Library. (I wrote the Suffolk County Probate Court to request the final version of O’Neill’s will, and it responded, “Unfortunately, and perhaps due to his VIP status at the time of his death, his probate file at Suffolk County Probate Court is impounded and is not open to the public” [e-mail to the author, October 10, 2013].)

14. Quoted in Doris Alexander, Eugene O’Neill’s Last Plays: Separating Art from Autobiography (Athens: University of Georgia Press, 2005), 152.

15. Commins, “Love and Admiration and Respect,” 199.

16. Eugene O’Neill, Selected Letters of Eugene O’Neill, ed. Travis Bogard and Jackson R. Bryer (New Haven: Yale University Press, 1988), 569.

17. “O’Neill’s ‘Self-Portrait’ Play Hailed at Swedish Premiere,” Boston Daily Globe, February 11, 1956. He also told this to Croswell Bowen (Croswell Bowen, “The Black Irishman” [1946], in O’Neill and His Plays: Four Decades of Criticism, ed. Oscar Cargill, N. Bryllion Fagin, and William J. Fisher [New York: New York University Press, 1961], 70).

18. Quoted in Arthur Gelb and Barbara Gelb, O’Neill: Life with Monte Cristo (New York: Applause, 2000), 337.

19. Agnes Boulton, Part of a Long Story: “Eugene O’Neill as a Young Man in Love,” ed. William Davies King (Jefferson, N.C.: McFarland, 2011), 172.

20. Jim Cook, “A Long Tragic Journey,” New York Post, December 2, 1956.

21. Monterey Diary, May 29, 30, 1954; Brenda Murphy, “What New London Said about the O’Neills,” Ninth International Conference on Eugene O’Neill, June 21, 2014, New London, Conn.; Monterey Diary, May 29, 30, 1954.

22. Eugene O’Neill, “Autograph Manuscript, 1 page,” Hammerman Collection, http://eoneill.com/manuscripts/27200.htm.

23. Louis Sheaffer, Son and Playwright (Boston: Little, Brown, 1968), 142.

24. O’Neill, Selected Letters, 381.

25. Quoted in Sheaffer, Son and Artist, 429.

26. Ibid., 540. For more on the family’s reaction to the play, see Doris Alexander, Eugene O’Neill’s Last Plays, 122.

27. O’Neill, Selected Letters, 338.

28. Ibid., 435.

29. Eugene O’Neill, “The Theatre We Worked For”: The Letters of Eugene O’Neill to Kenneth Macgowan, ed. Travis Bogard and Jackson R. Bryer (New Haven: Yale University Press, 1982), 253.

30. “The Theater: O’Neill’s Last Play.”

31. Monterey Diary, May 29, 30, April 21, 1954.

32. Kathryne Albertoni, Remembering Eugene O’Neill: A Memoir by Kathryne Albertoni, RN (privately printed, 2006), 14, in the author’s possession; Kathryne Albertoni, interview by the author, October 6, 2010.

33. Quoted in Sheaffer, Son and Artist, 644.

34. Quoted in William Davies King, Another Part of a Long Story: Literary Traces of Eugene O’Neill and Agnes Boulton (Ann Arbor: University of Michigan Press, 2010), 179.

35. Carl Van Vechten to Alfred A. Knopf, October 30, 1956, in Letters of Carl Van Vechten, ed. Bruce Kellner (New Haven: Yale University Press, 1987), 264.

36. King, Another Part of a Long Story, 231. Boulton’s second volume was to deal with the three-year period when O’Neill’s parents and brother died, the third, with the working title “Full Fathom Five,” about the couple’s later years to the ruin of their marriage in 1928.

37. “The Theater: O’Neill’s Last Play.”

38. George Williamson, “Plaudits for O’Neill: Swedish Press Hails Long Day’s Journey Into Night,” New York Times, February 15, 1956.

39. John Chapman, “Long Day’s Journey Into Night a Drama of Sheer Magnificence,” New York Daily News, November 8, 1956, 86; Brooks Atkinson, “Theatre: Tragic Journey,” New York Times, November 8, 1956, 47.

40. Walter Kerr, “Theater: Long Day’s Journey Into Night,” New York Herald Tribune, November 8, 1956, sec. 1, 20.

41. Tony Kushner, “The Genius of O’Neill,” Eugene O’Neill Review 26 (2004): 249, 253.

42. Kenneth Pearson, “Plays and Players: The Last Touch of O’Neill,” Sunday Times (London), October 12, 1958, 21.