Read Long Day's Journey Into Night by Eugene O'Neill Online

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Eugene O'Neill. Long Day's Journey Into Night. New Haven: Yale University Press, 1956. First edition. Octavo. 176 pages. Publisher's binding, dust jacket.This was the play that won O'Neill the 1957 Nobel Prize for Drama (posthumously). This work is interesting enough for its history. Completed in 1940, Long Day's Journey Into Night is an autobiographical play Eugene O'NeilEugene O'Neill. Long Day's Journey Into Night. New Haven: Yale University Press, 1956. First edition. Octavo. 176 pages. Publisher's binding, dust jacket.This was the play that won O'Neill the 1957 Nobel Prize for Drama (posthumously). This work is interesting enough for its history. Completed in 1940, Long Day's Journey Into Night is an autobiographical play Eugene O'Neill wrote that--because of the highly personal writing about his family--was not to be released until 25 years after his death, which occurred in 1953. But since O'Neill's immediate family had died in the early 1920s, his wife allowed publication of the play in 1956. Besides the history alone, the play is fascinating in its own right. It tells of the "Tyrones"--a fictional name for what is clearly the O'Neills. Theirs is not a happy tale: The youngest son (Edmond) is sent to a sanitarium to recover from tuberculosis; he despises his father for sending him; his mother is wrecked by narcotics; and his older brother by drink. In real-life these factors conspired to turn O'Neill into who he was--a tormented individual and a brilliant playwright....

Title : Long Day's Journey Into Night
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ISBN : 9780224605526
Format Type : PDF
Number of Pages : 176 Pages
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Long Day's Journey Into Night Reviews

  • Hailey (HaileyinBookland)
    2018-08-12 19:38

    *Read for class*Nope not a fan

  • Nikos Tsentemeidis
    2018-07-25 13:38

    Χαρακτήρες βγαλμένοι από τη ζωή. Όσο εξελίσσεται το έργο, η τραγικότητα τους αυξάνεται. Ευθύτητα και κυνισμός τους χαρακτηρίζει. Σπουδαίο. Δυσκολεύομαι να γράψω κάτι παραπάνω.

  • Jason
    2018-08-02 17:00

    From Act 1 Eugene O'Neill jerks away the patchwork veil from the face of a family to reveal the anatomy of the skin, every pustule, all the carbuncles, discoloration and scars, the embarrassing halitosis, wax and hairs—the attributes that, up close, make us ugly human beings. Long Day's Journey Into Night is a naked insight to the brutal, unyielding properties that trap families into dysfunctional, vengeful, malignant relations. Guilt, criticism, paranoia, competition, blame, hate, distrust, addiction. This family is like all others! The play exposes a painful calculus between characters, alliances form then change, issues smolder, and rage and reaction to past events is way out of proportion to the origin and manner in which they occurred. The family—like yours or mine—is stuck in a ritual of manuevers around each other's accusations. Truths are distorted; responsibility shrugged; failures are indiscriminately attributed. O'Neill shows us one day, in a single room, the complex lives in a family. Like real life it's hard to uncover single events that started the cascades of destructive family behavior. It's the paradox of the chicken or the egg. What originally infected the marriage? Was it James's miserliness or Mama's weakness to morphine? Was it James's drinking or Mama's nervousness? Was there, at first, moderation in James's drinking, or did Mama drive him to alcohol? Why did the second child die? Was it a jealous sibling, a frugal father, or a forgetful mother; betrayal, inaction or negligence? Who's the sucker? A tight-wad ninny that repeatedly falls for real estate scams, a neurotic mother that hides from neighbors, or a prodigal son who drops career for drink?O'Neill uses 4 characters, 16 hours, and a parlor to compress the story. There's rising tension from page 1. The characters are trapped, and with years of pent up emotion and issues that perhaps can never be resolved, they become embroiled in a replay of the most painful and explosive vindiction. I think a normal person would have walked away in a shout. But no, the strength of the play is that O'Neill takes it farther. He explores the human threshhold and tries to discover an end, if there ever was such a thing. It takes the reader past a point of retreat, and plows into unknown places where we would never go in real life. This is more than a family fight. This is the brink. You don't come back from this place unchanged. There are charges that once delivered, can never be unsaid. Distilled to its essence, Long Days Journey Into Night says this: I hate you; I tried to kill you; we're all mucked up because of you and you and you; I no longer love you; you can die; you've destroyed my dreams.After reading, I could only side with one character, Edmund, the youngest son, the least hateful, the least repugnant, the shortest in this life to really become mean. Yet, ironically, he'll most likely die from consumption. Perhaps the irony was O'Neill's construction. I'm left realizing that the most precious in life is fleeting. The world is hard, life is harsh. And yet, from this 23 year old I get the most beautiful image of life:You've just told me some high spots in your memories. Want to hear mine? They're all connected with the sea. Here's one. When I was on the Squarehead square rigger, bound for Buenos Aires. Full moon of the Trades. The old hooker driving fourteen knots. I lay on the bowsprit, facing astern, with the water foaming into spume under me, the masts with every sail white in the moonlight, towering above me. I became drunk with the beauty and singing rhythm of it, and for a moment I lost myself--actually lost my life. I was set free! I dissolved in the sea, became white sails and flying spray, became beauty and rhythm, became moonlight and the ship and the high dim-starred sky! I belonged without past or future, within peace and unity and a wild joy, within something greater than my own life, or the life of Man, to Life itself! To God, if you want to put it that way.James Tyrone-dadMary-mom Jamie-son, 33Edmund-son, 23 1912

  • Carol Storm
    2018-08-02 19:46

    It's really sad to think that kids in high school are forced to read junk like DEATH OF A SALESMAN and THE CRUCIBLE when a great play like this one is almost forgotten. The thing I love the most about this play is that it really feels like the story of a family where there is no hope. I know just what it's like when one parent is permanently checked out on drugs, or alcohol, and the other parent is trying to keep up a false front, and the kids are always either acting out or just pretending nothing is wrong. I grew up in a house just like this and I would give everything to be able to put these feelings into words the way Eugene O'Neill does in this play. There's nothing depressing about reading it because every word just feels honest and natural and there's never any sentimentality. I'd also like to point out that the characters in this play are all very well educated and the father is a great Shakespearean actor, so the language they use is much more emotional and expressive and even poetic, compared to the drab, flat, lifeless conversations in DEATH OF A SALESMAN, or the unbearably artificial Puritan dialogue in THE CRUCIBLE. Who put the fix in to make Arthur Miller the "official" American playwright? Eugene O'Neill could kick him deaf, dumb, and blind.

  • Simona
    2018-07-17 15:40

    Eugene O`Neill scrie "Lungul drum al zilei către noapte" pentru a se elibera în primul rând pe sine de amintirile chinuitoare, de reproşurile trecute, de lupta morbidă dusă cu boala şi alcoolul în tinereţea sa.Prin această piesă îşi mărturiseşte iertarea pentru ai săi, încercarea de a se ierta pe sine însuși și pe cei cu care și-a dus viața în chinul viciului, neînţelegerii, minciunii şi indiferenţei din familie.Drama urmăreşte -pe parcursul unei singure zile, din zori și până la miezul nopţii - distrugerea familiei Tyrone, o familie întemeiată pe premise greşite, ce trăieşte din conflicte, susţinută inerţial de minciuni şi prefăcătorie: mama narcomană, tatăl şi fiii - alcoolici.Fiecare personaj le învinuiește pe celelalte și îşi justifică decaderea și viciul prin scuza ratării, însingurării, bolii sau neîncrederii celor din jur. Părinți sau copii, nu se simt în siguranţă atunci când sunt ei înşişi şi nu se simt protejaţi decât când trupurile le sunt îmbibate cu alcool sau morfină. Fiecare are şi nu are dreptate, de aceea empatizezi cu ei chiar și fără să îi aprobi.O drama zguduitoare despre oameni disperaţi, prinşi în ghearele unei sorţi care dă cu o mână şi ia cu cealaltă.

  • Jasmine
    2018-08-08 17:58

    ”The fault, dear Brutus, is not in our stars, but in ourselves that we are underlings.”Long Day’s Journey into Night was a story about a family, James Tyrone (father), Mary (mother), Jamie (elder son), Edmund (younger son) and Cathlyn (second daughter), and their typical day. I’ve always thought it’d be hard to read a play but it turned out just the opposite! Well, at least for this one, Long Day’s Journey into Night is surprisingly easy to read and grasp its meaning. As short as the story is, I’m amazed by how well-written it is. There are four acts in the play, dividing one of the family’s ordinary days into four time sections. It begins with the family’s ordinary morning at 8:30 and then ends with the family’s approaching bedtime at roughly 23:30. Before you read the following summary, I’d want to clarify that it’s my personal interpretation of the book so it may or may not be the original idea the author wanted to convey.James Tyrone is a successful landlord who earns a great amount of money but is so stingy that he’d rather let his sick son, Edmund, go see a quack. Since James is rich and apparently, the family doesn’t seem to need another salary, Jamie doesn’t see the point to keep pursuing his actor career. Therefore, he stays at home in the daytime and goes on drinking spree at night. Obviously, having fun and flirting with girls are way more exciting than working hard. MARYReprovingly.Your father wasn’t finding fault with you. You don’t have to always take Jamie’s part. You’d think you were the one ten years older.JAMIEBoredly.What’s all the fuss about? Let’s forget it.TYRONEContemptuously.Yes, forget! Forget everything and face nothing! It’s a convenient philosophy if you’re no ambition in life except to—MARYJames, do be quiet.She puts an arm around his shoulder—coaxingly.As an American middle class, it’s almost intolerable for your kids to idle away their time when they’re supposed to get a job, make both ends meet and take good care of themselves as well as their parents. I can totally imagine the frustration James feels when seeing one of his sons fooling around and the other bedridden with deteriorating health. We all know that misfortunes never come singly, thus, when Mary finds out she has arthritis, she can’t stop reminiscing about her once young and beautiful self, which bothers James even more. She can no longer stand the ugliness of her (still-prefect) hair, the wrinkles on her face and the severity of her paranoia. However, the negativity is all in her head! James never thinks less of Mary, but somehow she just can’t wrap her mind around his thoughtfulness. TYRONEMary! For God’s sake, forget the past!MARYWith strange objective calm.Why? How can I? The past is the present, isn’t it? It’s the future, too. We all try to lie out of that but life won’t let us.The most special part in this book is that there’s no twist in the story at all. Like I said earlier, this book depicts a very ordinary, run-of-the-mill American lifestyle back in the ‘40s/’50s so I believe it’s the relatability of the story that draws our attention from the first page. At the end of the book, the Tyrone Family appears to be exhausted due to the occasional argument about life, love, job, nothing and everything during the day, so I think James gives up lecturing on Jamie’s unpromising behavior, or further worrying about his paranoid wife. Perhaps he later realizes it’s so much easier to just join his son for a drink and simply “forget” everything. Who knows? This doesn’t sound like a bad idea, does it?”Be always drunken. Nothing else matters: that is the only question. If you would not feel the horrible burden of Time weighing on your shoulders and crushing you to the earth, be drunken continually. Drunken with what? With wine, with poetry, or with virtue, as you will. But be drunken.”All in all, Long Day’s Journey into Night is a rather interesting read for me because what happens in the Tyrone Family may or may not occur in real life. Again, I’m fascinated by the super-ordinary-yet-original concept this play conveys and would like YOU to read it someday. I hope you’ll find it relatable the way I do and maybe, you’ll get inspired by the characters after reading this because, YOU NEVER KNOW!

  • Laura Leaney
    2018-08-11 21:53

    The first time I ever saw Albee’s Who’s Afraid of Virginia Woolf I could not quite believe that people could drink that much and live. And I thought this despite the fact that I come from a drinking family. The alcohol in Albee’s play operates not so much as a numbing agent, but as an alchemic incendiary to the verbal abuse that transforms four intelligent people into harpies of the worst kind. In O’Neill’s play, the focus is also on four people, members of an Irish-American family – a father, mother, and two grown sons (although there is also a slack-jawed servant). All the dialogue and action take place in the family’s summer house, and the time (occurring in a single day) can be measured by the diminishing level of the whiskey bottle. Make that bottles, plural. The drinking is breathtaking, horrible, and cruel. The pendulum that swings between love and hate, forgiveness and acid recrimination, past and present, only stops when all the men in the family - nearly annihilated with booze – stop to watch mother and wife slip into a morphine induced fugue about the sweetness of her fantasized past………before her husband and sons ever came into her life. She’s awful. All passive aggressive nasty sweetness. MARY[. . .]I’ve always hated this town and everyone in it. You know that. I never wanted to live here in the first place, but your father liked it and insisted on building this house, and I’ve had to come here every summer.EDMUNDWell, it’s better than spending the summer in a New York hotel, isn’t it? And this town’s not so bad. I like it well enough. I suppose because it’s the only home we’ve had.MARYI’ve never felt it was my home. It was wrong from the start. Everything was done in the cheapest way. Your father would never spend the money to make it right. It’s just as well we haven’t any friends here. I’d be ashamed to have them step in the door…………O’Neill’s play is an extraordinary disturbing family tragedy where love – and it’s surely there – cannot be kept alive. The deep animosity between the family members undercuts any affection they feel for each other at every turn. It’s a blame game. Not a single one of them is willing to acknowledge their own part in the emotional violence. Jamie, the eldest son, is a failure at being the actor his father once was and has descended into alcoholism and whoremongering. He spends his last borrowed dime on “Fat Violet” while his brother and Father futilely hope he won’t come home. The father, accurately accused of being cheap, is willing to save a buck by sending his ailing son to a public sanitorium. The younger son Edmund, busy aggravating his Shakespeare-loving father by quoting Beaudelaire and Rossetti, is listless and pathetic. The family is a Freudian delight. Each character has a central core of anger so deep that it’s become the only emotional security they know. Not one of them is willing to give it up. Instead, in order to feel something, anything, they drink to intensify the joy they feel in blaming someone else for their pain. When the curtain falls on the night’s end, I know that the morning will be the same. I can see the influence O'Neill must have had on Edward Albee, especially in Virginia Woolf. Is it a particularly American story? Perhaps. O'Neill is, after all, described as the "father of American drama," and this is his most autobiographical play. But the family dynamicsare profoundly human, and I would guess that somewhere in its pages a human being anywhere in the world might recognize one or more of his/her own worst traits.

  • Connie
    2018-08-02 17:37

    The epigraph of Eugene O'Neill's semi-autobiographical play says it was a 12th anniversary gift to his wife: "I mean it as a tribute to your love and tenderness which gave me the faith in love that enabled me to face my dead at last and write this play--write it with deep pity and understanding and forgiveness for all the four haunted Tyrones." The play was published in 1956, three years after O'Neill's death.As the day turns into night, the four characters in the Tyrone family reveal more and more about their past. The major problem is addiction to alcohol by the father and two sons, and addiction to morphine by the mother. Drugs erase reality, just as the fog that surrounds their home reduces visibility. Mary says, "I really love fog....It hides you from the world and the world from you. You feel that everything has changed, and nothing is what it seemed to be. No one can find or touch you any more."Each of the family members has repeatedly failed in life, and is carrying guilt. But they have also faced challenging times that have molded them into the people they are now. Although they care about their family, they blame each other for the problems they face. Mary especially looks back to her youth when life was uncomplicated. The troubles of their past seem to be determining their future in an endless cycle.This is a very powerful play that won the 1957 Pulitzer Prize for Drama. It is especially tragic since it mirrors the lives of Eugene O'Neill's own dysfunctional family.

  • Danae
    2018-08-06 20:43

    Long Day's Journey into Depression.

  • George K.
    2018-07-19 21:55

    Βαθμολογία: 9/10Άλλο ένα κλασικό και πολυδιαβασμένο θεατρικό έργο που διαβάζω τον τελευταίο καιρό. Πρόκειται για ένα πραγματικά πολύ σπουδαίο και δυνατό έργο, γεμάτο τραγικότητα και κυνισμό. Η αλήθεια είναι ότι σαν θεατρικό έργο είναι ίσως το πιο σκοτεινό και απαισιόδοξο από αυτά που έχω διαβάσει μέχρι στιγμής (δεν είναι και πολλά, αλλά είναι καλά!), σίγουρα δεν είναι ένα έργο για να "περάσεις καλά". Οι χαρακτήρες είναι τραγικοί και θα έλεγε κανείς χτυπημένοι από τη μοίρα αλλά και τις κακές τους επιλογές, οπωσδήποτε είναι βγαλμένοι από τη ζωή. Με το θεατρικό αυτό έργο, ο Ευγένιος Ο'Νιλ βάζει τον αναγνώστη/θεατή να σκεφτεί κάποια πράγματα για την οικογένεια και τις επιλογές του όσον αφορά τον τρόπο ζωής. Οι διάλογοι είναι φυσικοί και ανθρώπινοι, γεμάτοι κυνισμό και πίκρα. Μου μαύρισε λίγο τη ψυχή σε κάποια σημεία, αλλά άξιζε τον κόπο.

  • Sabrien Abdelrahman
    2018-08-14 14:03

    Why did this feel like rereading The Glass Menagerie?

  • Jennifer
    2018-07-23 16:03

    You know when you're reading something and think, "Damn, this is good," and then you look up the playwright and realize he won 4 Pulitzers and the Nobel Prize? Yeah. O'Neill sort of knows what he's doing. This play is the emotional equivalent of picking a scab. All four characters are seared on my brain, and the detailed, beautiful stage directions make this an especially good reading experience. Recommended if you like family dramas steeped in hopelessness.

  • Suvi
    2018-08-04 17:45

    This has been in my reading list for ages, and now that I finally managed to grab the thing for a reading challenge, it couldn't fly any faster to my list of absolute must-sees. With the likes of Jeremy Irons, Lesley Manville, and Hadley Fraser starring, the adaptation at the Bristol Old Vic would be a dream, but the circumstances are what they are, so this will just have to wait.Reading a play instead of seeing it performed can be complicated and underwhelming. No such problem here. Long Day's Journey Into Night comes from an extremely dark place and lays bare the tragedy of not wanting to live in the world as it is, but it's also an incredibly moving and beautiful piece of drama. The power of the dialogue combined with O'Neill's unusually specific stage directions (including the appearance and facial expressions of the actors) creates a very tangible atmosphere, one that is heightened even further from the knowledge that the family's struggles were once real for O'Neill, and that due to the autobiographical content he didn't want it to be published until 25 years after his death.In 1912, a day in the Tyrone family consists of them escaping their guilt and frustration. Mary's morphine addiction has created a protective cocoon, where she can remember her happy pre-marriage years, when she still felt like she had a real home. Her absolute denial of the negativity around her, like Edmund's illness, is slowly destroying her personality and strength, making her even more discontent and lonely. Meanwhile, James Tyrone and sons Eugene and Jamie detach themselves from reality with whiskey.There's palpable tension from the start, when suspicious glances are thrown in all directions. If noticed, they contribute to a mutual feeling of distrust. True meaning of words shows on embittered faces, and the indirectness and failure to address the problems in a constructive way, the men resorting instead to childish name-calling and criticizing, further worsens the atmosphere of the day.The Tyrones suck you into their vortex. The fleeting moments of sincerity and affectionate tears sink into the darkness of the house, a house that becomes more and more surrounded by the fog and the sounds of the foghorn, closing it into its own world of bitterness. The ending is dream-like and suffocating, leaving the audience uncertain about the family's future yet also feeling like it's the death of everything. The future wasn't all happy (eleven years later, Jamie drank himself to death), but Mary's fight with her addiction led to victory two years later, so at least there's some glimmer of hope.A deeply personal project for O'Neill, I'm not surprised about his decision about the publication. I'm also not surprised that Sweden, the land of Ingmar Bergman, appreciated his works more than any other country, and was also the first to produce it on stage. The list of actors involved in productions all over the world since the 1950s is impressive: Laurence Olivier, Jack Lemmon, Kevin Spacey, Jessica Lange, Bibi Andersson, Peter Stormare (the latter two directed by no other than Ingmar Bergman in 1988) etc. Let's just hope the next production will be more accessible to me."MARY. None of us can help the things life has done to us. They're done before you realize it, and once they're done they make you do other things until at last everything comes between you and what you'd like to be, and you've lost your true self for ever."

  • Laura
    2018-07-27 18:52

    Eugene O'Neill is a strong writer. Long Day's Journey into Night is probably one of the deepest plays I have read having read it at a young age. I would really like to see a production of this. My favorite part was the monologue about the fog. "The fog was where I wanted to be" is not a meaningless quote at all. It is about reality, solitude, and fear. I love this monologue because there is so much to say about solitude and reality together. The play is no light read and it deals with very serious topics. I love O'Neill's strategies in this play. I look forward to reading his other works.

  • Emily Mack
    2018-07-26 18:05

    It was a great mistake, my being born a man, I would have been much more successful as a sea gull or a fish. As it is, I will always be a stranger who never feels at home, who does not really want and is not really wanted, who can never belong, who must always be a little in love with death!^ These words are spoken by Edmund (O'Neill's autobiographical stand-in) in the late pages of the play. And I think they very much capture the mood and tension that so densely fog the lives of the Tyrones -- and the resentment and feelings of homelessness that are such common side effects of living in a dysfunctional family.I live in New London, Connecticut -- aka, Eugene O'Neill, Connecticut -- and I read my way through high school via cheap, used editions of his plays. I've been meaning to turn back to them for awhile now, and I'm glad I started with Long Day's Journey, which is considered both his opus as well as his "New London play."Thinly veiled, Long Day's Journey is a look into O'Neill's own life via a single day spent in the family's summertime cottage in New London. The cottage still stands and is staged for summertime visitors, just as it might have been on the day recounted by O'Neill in this play. In rereading this play, what I get all nerdy about are the not-so-subtle references to the nearby O'Neill landmarks. There is the "inn," also known as the "club" -- where the men do their drinking and Tyrone pursues his bum real estate ventures. Many years ago, awhile after this play was written in 1940, the inn was turned into an apartment building, a building I currently call home. There is also much talk of the writing Edmund (aka, Eugene) contributes to the local newspaper, which is a reference to The New London Telegraph, which no longer exists in such a form, but the building is currently occupied by my go-to bar. Maybe I'm biased, but I sometimes wonder why so many of O'Neill's great plays are ignored by high school reading curriculums. In my opinion, these plays -- and especially this one -- hold up very well against drama that is much more ubiquitously read in this context.

  • Geri
    2018-07-16 16:43

    "Be always drunken. Nothing else matters: that is the only question. If you would not feel the horrible burden of Time weighing on your shoulders and crushing you to the earth, be drunken continually." - Baudelaire You know that feeling when words become inadequate and cannot even begin to sum up how you feel about something? This is precisely how I feel right now. There is just so much going on in 'one day' and so many emotions...! If you are someone who believes in and chases after the American Dream, then this is not the play for you. This play is an elegy, a funeral for, and the death of all hopes and dreams. O'Neill illuminates to us how even love and hope - the only things that ultimately make us want to continue to live - cannot save or heal an utterly broken family, who despite everything still loves each other. The four main characters in the play are so flawed, and yet we sympathise with them so, so much because they are what their pasts have made them become. This play highlights how the past will always haunt us to the present, and therefore also dictate our future, and thus we can never truly escape from the very things that make us so incredibly miserable. This play is frighteningly accurate in its portrayal of a dysfunctional family and their despairing lives. The fact that this is also an autobiography makes the entire play so much more heart-wrenching. This play will force you to reflect on your own family life, and you will be surprised by how many parallels there are between the characters in the play and the people you know. As Harold Bloom puts it, "the helplessness of family love to sustain, let alone heal, the wounds of marriage, of parenthood, and of sonship, have never been so remorselessly and so pathetically portrayed, and with a force of gesture too painful ever to be forgotten by any of us." In fact, the cover of this play is a picture of a glass of whiskey. What do you expect?

  • Don Incognito
    2018-07-22 16:55

    Don't read this play if you or your family have a history of drug addiction and/or alcoholism and you don't want to be reminded of it. This play is about the disintegration of a family whose members are, variously, addicted to drugs or alcohol; tormented by the failure of their dreams; or dying from disease on top of the other problems.That said...this is a fascinating play with a explosive end. The first three acts are so quiet in comparison, in their depiction of the Tyrone family's individual miseries, that I was caught off guard and astonished by the end of Act IV.I liked the play well enough after the first three acts, but I think I was vaguely disappointed and bored by the family members' endless tiptoeing around the sources of their misery and shifting back and forth between sniping at each other and trying to pretend nothing is wrong.Everyone who reads about this play knows it is autobiographical, with the Tyrones representing Eugene O'Neill's family and the protagonist Edmund Tyrone representing Eugene O'Neill himself. With Eugene O'Neill being a famous playwright, you might think Edmund is the most interesting character; but I say no, not really. I find his older brother Jamie more complex and therefore more interesting. I'm not entirely sure why yet--I want to study Jamie more closely--but I think it has to do with the difference in Jamie's condition from Edmund's and Mary's. Jamie is a heavy drinker and possibly an alcoholic, but not terminally ill like Edmund or a drug addict like Mary. And since Jamie is out of favor with his father (who considers him a ne'er-do-well) and is receiving less attention because he's not dying, he is more distant from his family and often acts as a cynical observer. At the end, he seems the most emotionally tormented member of the family, certainly more tormented than Edmund.

  • Frankie
    2018-08-15 18:06

    I had the opportunity to read this in World Drama class years ago, but I admit shamefully that I skimmed it. Now, knowing the autobiographical context and the actual accuracy of O'Neill's family history portrayed here, I couldn't help but feel emotionally invested. In the dedication to his wife at the beginning, O'Neill describes it as "this play of old sorrow, written in tears and blood." Sounds melodramatic, and the first half may indeed seem so. But for me this play carries a sucker punch. The final act is a cathartic, tumultuous, poetic and difficult-to-swallow piece of literature. I can't imagine the demons he faced in order to write this.The characters are all to some extent drunks, Catholics and actors, though the father is the only of all three officially. The acting motif comes into play, as in all dysfunctional families, in the tremendous roles they all play for each other. Denial, sarcasm, bitterness. The mother character bears the deepest pain, and therefore is the first to seek reprieve in substance abuse. Once she enters this cocoon she freely expresses, or confesses in the Catholic sense, all her woes. The father cracks when his wife does, but his shame is always guarded. The characters of the sons, Edmund (Eugene's autobiographical self) and Jamie, are heartbreakingly simple. They have dark secrets but are young, still live close to the surface. By turns all redeem themselves through stupor, with no real resolution in sight. There's no sober denouement, only the hope that Edmund may escape.

  • Christopher Rush
    2018-07-16 20:00

    It's hard to really "like" this play, considering it's so painful, especially knowing what happens and reading it again and seeing how genuinely happy things are (or at least seem to be) on the first page. Literature isn't often as "courageous" as people say it is, but O'Neill's play is a remarkably courageous act - I doubt I'd be willing to memorialize my worst memories and experiences for all time for all to see. Not that my experiences were anywhere near as tragic as his ... which makes his willingness to do this all the more incredulous. Fortunately it didn't get staged until after his own death - I know nothing more about O'Neill than this, but I can't imagine his willingness to see this performed. No wonder Tennessee Williams didn't want to see The Glass Menagerie ever. Is it a "good" play? Artistically, it presents its ideas and message superbly, so in an aesthetic sense, yes, it is a "good" play. I just don't know if I'd want to see it, considering how difficult it is to read it. Why do I have students read it, then? Because it does what it sets out to do and is a landmark of American literature, that's why. No one ever said, "Gee, American literature is fun and makes me happy." At least, not that I know of.

  • Khadija
    2018-08-13 20:06

    Years ago i had a professor who used to tell me that you can't say you read plays if you havent read Eugene O'Neil's ones yet !He was right .what genuis can write such beautiful piece of art??What shattred dramatist can use the sorrow ,"the tears ,and the blood "to write this wonderful play full of pitiless honestY ? another great work that talks about the importance of the past ,past memories ,past dreams ,and past as it is . Yes in the play,The unbearable past haunts everything , even a past that long ago seemed fleetingly full of innocent potential, like Mary Tyrone’s. “The past is the present, isn’t it?” goes Mary’s renowned question, to which she knows the answer: “It’s the future, too. We all try to lie out of that, but life won’t let us.”This is a family drama .A drama about hate and love and how they can mean sometimes the same thing .love in the play is naked from all illusions .Hate also is naked from all flawery descriptions that tend to make it look acceptable .the play is about the four Tyrones and how their addictions are putting barriers in front of them to lead a snicere life ,where no one has to hide his own flaws and lame the others for his misery.

  • Momina Masood
    2018-08-08 13:59

    Be always drunken. Nothing else matters: that is the only question. If you would not feel the horrible burden of Time weighing on your shoulders and crushing you to the earth, be drunken continually. What an utterly beautiful play! This is my second of O'Neill and I am completely won over. Where naturalist and realist fiction takes on life with the sharp gaze of the one who doesn't cringe, symbolist literature says:Don't look at me as if I'd gone nutty. I'm talking sense. Who wants to see life as it is, if they can help it?Though O'Neill wasn't strictly what you call a symbolist writer, this play does deal with one of the major themes the Movement was about: escapism. Addiction and escapism go hand in hand and each of the Tyrones have their own reasons, their own stories and their own past that they're desperately trying to forget, having lost all hope to amend it. It is a beautiful and heart-rending play, though very sad, and O'Neill just made into my favorite playwrights!

  • Beatrix
    2018-08-03 18:41

    Loved this so much. Need to see this play performed.And several other times in my life, when I was swimming far out, or lying alone on a beach, I have had the same experience. Became the sun, the hot sand, green seaweed anchored to a rock, swaying in the tide. Like a saint's vision of beatitude. Like a veil of things as they seem drawn back by an unseen hand. For a second you see -- and seeing the secret, are the secret. For a second there is meaning! Then the hand lets the veil fall and you are alone, lost in the fog again, and you stumble on toward nowhere, for no good reason!It was a great mistake, my being born a man, I would have been much more successful as a sea gull or a fish. As it is, I will always be a stranger who never feels at home, who does not really want and is not really wanted, who can never belong, who must always be a a little in love with death!

  • Weinz
    2018-08-08 19:41

    Completely depressing and beautiful. After reading this play it is clear why O'Neill chose to have it published posthumously because of its autobiographical nature. O'Neill used his own name for the baby that died young and ended up being the trigger for so much of the family’s dysfunction. The rich dialogue and intense relationships bring your emotions right into the Tyrone family and their turmoil. There was substance abuse in every member of the family. It was interesting the different levels of tolerance that was expressed. The mother's morphine addiction was full of shame, disgrace and banishment where the father's alcoholism was viewed as a minor annoyance that comes with being a man. It's full of dysfunction, addiction, greed, loathing and cynicism. It leaves you contemplating the process of dealing with trials in our lives and what we do with those trials. Loved it.

  • Headcount
    2018-07-28 14:46

    You wont like this book unless you have some stodgy English professor explain all the allegorical motifs that come at certain times. However, I found this to be a masterpiece. Not to be a spoiler, but the wife is addicted to Morphine and her sons are alcoholics. Uplifting story it isn’t, but the way it is crafted and acted out was way ahead of it’s time. This might be the one time you can watch the video and then read it. Either way, this was one Eugene’s best including the Ice Man Cometh.

  • Anastasia
    2018-08-02 14:54

    A volte è sorprendente in quali vicoli ciechi ci può portare l'inerzia. Come nella famiglia Tyrone, in cui nessuno fa nulla per uscire dal circolo vizioso che si crea a rivangare e rivangare e pensare a se stessi, gli altri, passato, presente e futuro sempre seduti su una sedia, mentre fuori regna la nebbia. In realtà la riflessione che diventa paralitica è stato un argomento trattato in maniera trionfante in Amleto, non ho ancora letto un libro che ne parlasse meglio. Ma qui siamo ad uno stadio ancora superiore, più meschino. Non si tratta di un'azione lucida nei nostri confronti, affatto, si tratta dell'altra via che si può prendere quando la frustrazione si riduce ad essere tale, che ormai non sembra quasi possibile passare ad uno stato diverso. L'autocompassione dell'inetto. Quanto ci frega quel momento in cui ci permettiamo di credere di poter compatirci per l'infelicità causata da noi stessi, nella quale ormai in realtà sguazziamo senza riuscire ad ammettere che ci piace più del coraggio per tornare ad essere felici.E mazza se la famiglia Tyrone è infelice: la mancanza di volontà di tutti loro per uscire fuori da uno stato soffocante come quello si è radicata in modo talmente profondo che è difficile ora dire dove sia sgusciato l'oggetto che ha dato origine alla loro attuale infelicità. Da dov'è cominciato tutto? Anzi: da dov'era cominciato tutto, un tempo, quando ancora si poteva girare per la casa senza aver voglia di scappare all'istante? Le cause possono essere diverse, ma allo stesso tempo è facile persino credere che sarebbe bastata l'assenza di una sola di quelle per salvarli. Quanto avrebbe fatto se James Tyrone, il padre di famiglia, avesse tentato di non assecondare più la sua avarizia? Perché James reagisce, reagisce quando Mary, la moglie, o i due figli gli fanno presente quanto potrebbe essere diversa la loro attuale situazione se lui quella volta fosse stato più generoso. Ne è pungolato, si offende, ribatte con articolate giustificazioni verso se stesso (come tutti e tre, Edmund, il figlio minore, ne esce quasi pulito), accuse verso gli altri, spostando qua e là il fuoco dell'attenzione. Ma perché non guardate vostra madre? ma perché non guardate voi stessi? Figli dell'ingratitudine! Chi sarà il prossimo sotto processo? e a chi passerà la palla? Tutto sta nel fatto che James, come gli altri, sa che effettivamente tante colpe ricadono su di lui. Lui ha permesso che la moglie fosse esaminata da un dottore scadente che come rimedio raffazzonato le permettesse di somministrarsi una certa dose di morfina tutti i giorni. Ah, il dolore passa, ma le conseguenze disastrose? aggiungiamoci che nè il marito nè la moglie sapessero cosa stavano comprando la prima volta che hanno ritirato questo misterioso farmaco e la situazione, ahimé, è degenerata.Indirettamente ha permesso che la vita della moglie fosse minata dalla sua totale mancanza di disponibilità a spendere quei soldi in più per il benessere della sua famiglia, indirettamente, anche adesso, e ciò è estenuante, sta forse ripetendo lo stesso errore con il figlio Edmund (non morfinomane, ma con altri problemi). La parte tragica, degradante della situazione familiare dei Tyrone è che si rendono benissimo conto dei loro stessi errori, ma l'orgoglio è più forte della "giustizia". Orgoglio? Non solo, l'inerzia, la totale incapacità di non evolvere, perché non è detto che sottintenda un progresso, ma di crescere, di assumersi davvero delle responsabilità. Dare una svolta alla propria vita, per il bene di chi dipende da noi. Quante volte sarebbe dovuto avvenire lo scatto, nel dramma? James che sa di aver sbagliato e mette giù il whiskey, magari lo toglie di mano dai propri figli invece di incitarli ad un alcoolismo già degenerato di suo, perché è un irlandese e il whiskey per assurdo è di famiglia sin da quando i bambini lamentavano un male e lui interveniva con un rimedio casareccio, alla buona come un goccetto risanatore. Eh, appunto, si alza e aiuta davvero sua moglie ad uscire dalla depressione che la sta uccidendo, si alza per chiamare un dottore più valido per il figlio Edmund che, in fondo, potrebbe essere ad un passo dal rischio di morire, e magari, visto che è frustrato di suo, tenta di rimediare alle sue stesse insoddisfazioni. Un passo commovente tanto è potente, ed è solo un membro di questa rete di accuse e colpe.Infatti anche Mary, la poverina della famiglia, la mamma depressa per cui ogni volta che passa lei cala il silenzio e l'imbarazzo, perché sì, mentre lei era di sopra, ci si dannava per capire cosa fare, o per parlarne a vuoto come tante altre volte. Le accuse verso di lei rivelano anch'esse un'altra verità. James che dice: ma perché, perché non ci provi? almeno provarci? Provare a dire di no quando torna quella tentazione di mettere a tacere la propria infelicità con un altro rimedio immediato e quindi danneggiante come l'ennesima siringa nel braccio. "Vado di sopra" è già motivo di terrore per gli uomini di famiglia, ancora peggio se la si vede avventurarsi nella cameretta degli ospiti, simbolo di queste pratiche tragicamente esistenti, ma sempre nascoste dagli occhi altrui. Vero: hai motivi per lamentarti, tuo marito non è il migliore dei compagni e ti fa ancora più male perché lo ami e lo hai amato, tuo figlio sta male e hai questa strana sensazione che.. non sia solo un raffreddore.. e, infine, tu sei il prodotto di tante aspirazioni fallite e richieste mai esaudite. Una casa vera, invece di questo continuo via vai con la compagnia teatrale di tuo marito, invece di hotel squallidi (l'avaro colpisce ancora) senza alcuna stabilità, sempre diversi. Un'amica da cui andare invece delle serate in completa solitudine ad aspettare che lui rincasasse dai suoi giri, generalmente ubriaco. Mary è più subdola degli uomini Tyrone, perché mai, neanche per un istante, accenna ad una reale presa di responsabilità. Lei è quella che si riduce a pensare che la vita debba essere così perché cosi è andata, nessuno ha colpa di nulla. Non voi (ma quante accuse piovono tra le righe) e, soprattutto, non io. Perché la sua debolezza cronica, anche se ha superato i limiti, ha drammaticamente diritto di perdurare. Perché lei si crede la vittima per eccellenza, magari, e se non sempre, tante volte traspare questo segreto pensiero tra le tante dichiarazioni a suo favore o a favore di altri, quasi diplomaticamente.Anche lei incapace di adempiere al suo ruolo di madre, come il marito: perché i genitori in famiglia sono due. James non è l'unico che ha il compito di reggere la famiglia, ovviamente, ci sarebbe anche quel contributo che Mary ha abbandonato, concedendosi di essere un po' il bambino nella culla del nucleo, in una ribalta di ruoli in cui qua, quasi quasi, i figli sono quelli un attimo più adulti (e non del tutto).Eh, Edmund, Jamie, Mary, James..Che fatica agire, con quale assiduità la sostituiamo all'indulgenza verso noi stessi, l'autocompassione - appunto - per la nostra vita disgraziata che subiamo senza che nessuno ce la stia imponendo davvero. E, come nel caso di Jamie o Edmund, arrivare anche a convincersi che la nostra viltà possa essere camuffata dal sistema di pensiero pessimistico di altri che ci assicurano che il nostro cinismo sia ragionevole e non dettato dalla nostra miseria, dalla nostra profonda insoddisfazione perché non siamo capaci di prenderci la vita che vogliamo davvero. Tante citazioni nelle loro bocche, di grandi filosofi, letterati che danno senso al loro dolore fino a infagottarlo in sentenze senza possibilità di mutamento. Edmund e Jamie, generazione amareggiata dalla delusione derivata da genitori più concentrati su se stessi che su altri. Jamie poi, il cinico di famiglia, che un po' subisce le incapacità dei genitori e un po' ce ne mette del suo. Tale padre, tale figlio. Ubriacone pure lui, tre sere su quattro passate a puttane perché una relazione vera non gli interessa o è troppo impegnativa. Lo sconforto totale nel sapere che i tuoi genitori non ti preferiscono a tuo fratello minore, l'agnellino di famiglia, e inoltre non hanno nemmeno speranze in un tuo miglioramento. Se ci pensate è agghiacciante. Non avere fiducia, speranza, pensare segretamente che hai solo trent'anni ma ormai sei un fallito esattamente come noi.James che gli rinfaccia di essere stato lui a procurargli l'unico lavoretto che lo abbia mantenuto per un po' e ora gli ricorda vendicativamente, dopo le tante frecciatine che ha subito dal suo cinismo e rancore fumoso verso tutti, che è disoccupato un'altra volta e che, quindi, è inutile che se la prende con lui. Come tutte le accuse del dramma, pure questa ha la sua verità: non è mai colpa solo dei genitori, ma anche dei figli. Jamie e la sua totale incapacità di mantenersi quel lavoretto che trova per caso.Potrebbe essere un'ancora di salvataggio per il fratello, potrebbe a sua volta salvarsi in un rapporto migliore con lui, oltre che effettivamente stretto. Ciò che Jamie pensa di rivelare a suo fratello, quando - per una volta nella vita - sarebbe stato meglio stare zitti, è ben altro che la dichiarazione di un'unità più produttiva, ciò che gli dice è la cosa più crudele che potesse esprimere.JAMIE Ah, no, ragazzino! Devi ascoltare! L'ho fatto apposta, per fare di te un buono a nulla. O perlomeno è stata una parte di me a farlo: una grossa parte di me, quella parte che è morta da tanto tempo, che odia la vita. Quella storia di aprirti gli occhi perché tu imparassi dai miei errori..Ci credevo io stesso certe volte, ma era un'ipocrisia. Faceva sembrare interessanti i miei errori; ubriacarsi diventava una cosa pittoresca, e le puttane affascinanti vampiri, invece di quelle povere sciagurate sciattone che sono in realtà. Deridevo il loro lavoro come roba da semplicioni. Non desideravo che tu riuscissi e mi facessi sfigurare ancora di più, al tuo confronto. Volevo che tu fallissi. Sono sempre stato invidioso di te. Il cocco di mamma, il beniamino di papà! (Fissa Edmund con crescente ostilità) Ed è stata la tua nascita che ha fatto sì che la mamma si desse agli stupefacenti. Lo so che non è colpa tua, ma, Dio ti maledica, non posso ugualmente fare a meno di odiarti!EDMUND (quasi spaventato) Jamie! Smettila! Sei impazzito!JAMIE Ma cerca di capire, ragazzo. Ti voglio bene più di quanto ti odii. Il fatto che ti dica queste cose lo dimostra. Corro il rischio di farmi odiare da te..e tu sei tutto quello che mi resta. Non so perché l'ho detta. Quello che volevo spiegarti è che vorrei vederti riuscire come nessun altro al mondo. Ma devi stare in guardia; perché io farò di tutto per farti fallire. Non posso farne a meno. Io odio me stesso. E devo vendicarmi..su tutti gli altri..specialmente su di te. La vita dei giovani, ciò che c'è di salvabile, si compromette da sola. Quanto avrebbero potuto fare uno per l'altro se solo Jamie, ad esempio, invece di fare del suo rancore un fossile, invece di permettere che prendesse il sopravvento sulla sua personalità, l'avesse ridimensionato, si fosse alzato le maniche e avesse deciso di mettere a tacere questi infantilismi. Ciò che avrei voluto per loro era che si prendesse e si andasse via, se si fosse capito che qua i vecchi non cambieranno nemmeno a morire. Che Jamie, invece di permettere a se stesso e al fratello di continuare a dipendere dai genitori non avesse fatto in modo di scappare da questo inferno. Ma no, qua nessuno si salva, forse si è capito: Jamie lo aumenta, pone un'altra minaccia ad un fratello che già subisce le mancanze della madre e del padre. Si pone come egocentrico nemico.E niente, il circolo vizioso senza fine della famiglia Tyrone (e qui, nota dolente, forse della famiglia O'Neill, perché come ha detto lo stesso autore, questo dramma è stato scritto "con le lacrime e col sangue") fa pensare che probabilmente si sono confermati irrecuperabili e si confermeranno tali, anche quando noi lasceremo la scena dopo questa lunga giornata verso la notte. Prima non era diverso, dopo forse non lo sarà....deprimente, ed estremamente rappresentativo. Perché io non vorrei mai che si pensasse che ho odiato e disprezzato i protagonisti di questo dramma costruito così finemente. Sono solo sconfortata: penso sia un'opera estremamente personale, ma ciò che ne emerge fa breccia nella vita altrui con facilità. Per tutte le famiglie disastrate che esistono al mondo e per tutti i genitori come James e Mary, per noi, figli e fratelli, che in fondo ci siamo permessi tante meschinità pensando che tanto qua in famiglia lo fanno tutti. Per tutte le volte in cui non abbiamo la forza e preferiamo ignorare le nostre carenze, quel martellante "non so di che parli" di Mary ad ogni sospetto su cosa abbia fatto quando è andata di sopra. Per la condizione umana: c'è tanto da rimproverare a tutti loro, ma non manca la compassione. Tutti soffriamo, tutti finiamo per essere profondamente infelici, per un motivo o l'altro, ed è non indifferente la forza che dobbiamo metterci per essere attivi nella nostra vita, per dimenticare di essere i soli a patire, per non concederci più il fazzoletto da inzuppare di lacrime. Per tutti i giorni in cui proprio non ce l'abbiamo fatta e per tutti i giorni in cui non abbiamo avuto nemmeno la volontà di farci un vero esame di coscienza, non atto a trovare un capro espiatorio per giustificare la possibilità di continuare così, far ricadere le colpe su altri. Per chi in questa impresa difficile che è la vita si è perso, ormai, per tutte le possibilità che si perdono a loro volta ogni giorno che ci lasciamo andare alla deriva. Uno sguardo agli annegati nel loro stesso mare, senza odio, senza disprezzo, solo con compassione consapevole. L'unica possibilità, speranza estrema e incurabile è che non si concedano anche di dimenticare di quel che resta del giorno.

  • Realini
    2018-07-25 13:54

    Long Day’s Journey Into Night by Eugene O’NeillThis is an outstanding play. And that should have been the end of the “review”.What more can you add, and why waste someone’s time with some words which cannot possibly contribute to an already established, acclaimed work. I am not sure who, if anybody reads past the first two sentences, but my original plan had my family in mind: daughter- not wife- she never listens to me when I talk, why would she go to the trouble of accessing goodreads or my blog www.realini.blogspot.ro to read about ideas, theories which she disapproves of (if most of them are shared, then they would be rejected, since they come from the wrong place, only to be embraced again, later on).I am thinking grand children, would be future family historian or doctor looking for signs when they already have the entire DNA figured out and they put all the right genes at work and try to eliminate all the inconvenient ones…Long Day’s Journey into Night is negative and gloomy, so how come it is so popular?The obvious, plain explanation is…the truth: it is a great work.Readers love it even if it has no happy end…I will not get into what happens, even if it is clear right from the start…At least one movie was based on the book, directed by Sydney Lumet and I have read about making that film in his excellent book- Making Movies.I did see the movie and loved it. This morning I listened to a Romanian production of the play, for National Radio.And James, the father is played by the greatest actor I know- George Constantin, in quite good company- Florian Pittis and Alexandru Repan.All the characters are flawed, which adds to the mystery of the success of a play which presents such …”losers”, supposedly unliked and un-American.James is a modern day Harpagon, would not spend for a decent medical treatment even when he knows that his youngest son is so very sick. I was shocked to learn that the play is autobiographical.The eldest son, Jamie is an alcoholic, and as if that weren’t enough he is also a cynical, sometimes mean man. When he expresses his love for his brother Edmund, he cannot help but bring in guilt, claiming that Edmund was responsible for their mother’s sickness and more.Mary Tyrone, the magnificent Katharine Hepburn in the movie, is a drug addict.There is no single soul in the play without serious issues. But however mean they can be at times, or just plain superficial, aloof...we can’t do without empathizing with them.The old man seems for a while to be the most obnoxious, unfeeling, cheap of them all…but once we learn about his childhood, we understand and feel for him more.In a positive psychology light:They have a wrong, negative mindset and things do fall apartOn the other hand, how can you be cheerful when you’re sick?Well, The How of Happiness had not been published at the time of the Day’s Journey, otherwise the Tyronnes could have used some of the advice and happiness activities: gratitude, optimism, cope with trauma and more.It is easy for me to say…I haven’t touched alcohol in a few years, never used any drug, so I do not really know what it is o fight these plagues upon some houses.Splendid wonderful play acted by great actors on screen and with an astonishing George Constantin on the radio.Some of my own stories are atwww.realini.blogspot.ro

  • Anne
    2018-07-22 20:04

    Everything looked and sounded unreal. Nothing was what it is. That's what I wanted—to be alone with myself in another world where truth is untrue and life can hide from itself.Okay, that was so good. But really depressing. It's a little difficult to read sometimes, because it's so realistic and, of course, tends to be painful. This is a story of a family who slowly descends to ruin; a domestic tragedy that will truly reverberate in the hearts of the readers. Enter Mary, the mother of two sons, an innocent woman who has rheumatism, a condition that echoes the constant anxiety lingering in her heart as she worries about every little thing, especially about an event that transpired in the past, and how it ties to the present. Then there's Tyrone, the husband, a charming man who used to be an actor; a cheapskate who can't provide an actual "home" for his family despite the fact that they're well-off. Then their two sons: Jamie and Edmund (a 34-year-old who doesn't take life too seriously, and whom his father doesn't like all that much, and a sickly 23-year-old who resembles his mother, respectively). As Mary said: The past is the present, isn't it? It's future, too. We all try to lie out of that but life won't let us.Truly enough, each of their histories are pivotal in shaping the people that they eventually became. It's also a key in our better understanding of them, to see where they are coming from.It makes it so much harder, living in this atmosphere of constant suspicion, knowing everyone is spying on me, and none of you believe in me, or trust me.The dialogues, of course, reveal a lot about the characters, and underneath there's an underlying theme in the way they talked to each other: there’s a communication breakdown between them. Their talks are teeming with denial and an enormous fear to talk about their ordeal directly. They always go around in circles; and this cyclical pattern is recurrent in the duration of the play—the way Mary expressed her fear, and then reverting back to her defensive, illusive persona, forcibly donning a mask brimming with chips all over its edges. And then there's the idea of pinning down the blame on someone: how did this all begin? Who really is at fault? But the readers will realize that asking such questions is absurd. There's no single person who's to blame. As I said, it all goes around in circles, and as one progresses in the story, it will be realized that they really all have a part to play, that none of them isn't guilty; that, in the end, there’s a “sin” that keeps being passed around them.

  • Samantha Mccoy
    2018-08-02 19:01

    I had to read this for my 20th Century American Drama Grad class..the play (which I also watched actors play in movies via YouTube--I especially liked the one where Jack Lennon is playing James Tyrone and Kevin Spacey is playing Jaime Tyrone) was interesting because each on the main characters comment on the others addictions but are blind of their own, until the very last act where the three men acknowledge their own issues. Mary Tyrone, the mother goes from present to past, high to low, unhappy with her life, calling her husband cheap but then complimenting him. It's not clear in the beginning of what her addiction is but to finally find out what it is, was exciting to me..the anticipation of knowing she is not fully in the present and her mind drifts but the circumstances that are revealed in pieces throughout the play. Each of the main characters (the father, the mother and two adult sons) are both complex and simple and by the end, there is a sadness to how they don't address the addictions/vices.In class, two idiots talked about how the addictions the characters have don't equal the ones of 2013 but why would you step out of the settings in 1912 where you are disconnected from what is occurring with the characters? Another idiot wanted to argue that the alcohol consumption could simply be a way of "having a good time" rather than a means of escaping the problems the characters each have within themselves in with each other. He is clearly mistaken because when someone is simply having a good time when one has to sneak drinks or try to break open liquor cabinets or check how much liquor was taken from a bottle behind your back. The author's family dealt with alcoholism so it's safe to say that, no, the characters were not just having a good time drink. This is especially not in Jaime's case..

  • Katie
    2018-07-24 14:00

    *4.755 stars...that's kind of rare. And decently unexpected. I didn't know what I was getting into[though Blatz had called him America's greatest playwright]. On a side note, for class, I plan to reenact the final scene, starting from Mary's entrance - it should be interesting. When I think about it, I'm not altogether sure why I chose to give this five stars. A good many times, I tend to say it'd be better onstage, and leave it at that. But while this would be, indeed, amazing onstage, it was also an amazing book. The language was elegant without being overly flowery; it moved at a perfect pace,and I found myself closely following along with every line. I didn't find myself identifying with any character, but at the same time, didn't find them to be the boring broken-American-dream, or pathetic alcoholics -- I saw them as people, with their own hopes and dreams and failures, each with justified reasons for their pain, each struggling and fighting his or her own demons[s]. I didn't intend to analyze it as I read, but I still saw the obvious-yet-not-too-in-your-face fog motif, and how this long day was...life, compressed into a mere ~18 hours. It is the story that begins so happily, so content, laughter and sunshine, clarity and love and warmth and affection, a family so connected, so seemingly together...then slowly, problems surface...until things disintegrate, from day into night, from love to accusation, from joking to morbid seriousness. But through all the drama shines...a little bit of hope, a deeper understanding of one another, a foghorn blasting through...a promise of tomorrow - a better tomorrow? perhaps not - but at least another day.

  • Rui Alves de Sousa
    2018-08-01 20:56

    Clássico absoluto do teatro do século XX, "Jornada Para a Noite". História de uma família desfeita, de fantasmas, de mortos-vivos que partilham a mesma casa e, em consequência, as mesmas memórias e pesadelos. As relações familiares e o conflito de gerações ganham, assim, outros contornos, várias armadilhas, e surpresas constantes.