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Editor: Harley Hammerman
St. Louis, Missouri

Volume 0



Michael Basile Stage Directions: O'Neill's Unheard Voice
Per K. Brask Notes on O'Neill and A Touch of the Poet
Charles A. Carpenter Eugene O’Neill, 1888-1953: A Descriptive Chronology of His Plays, Theatrical Career, and Dramatic Theories
Yoko Onizuka Chase Eugene O’Neill’s Poetics of Dionysus through his Presentation of Xenoi, Metoikoi and Barbaroi
Thierry Dubost Strange Interlude, and the Quest for Truth
Brad Field Doing O'Neill
Harley J Hammerman On Collecting O'Neill
Harley J Hammerman On Collecting O'Neill:  Part Two
Eileen Herrmann-Miller Staging O’Neill: Staging Greek Tragedy
William Davies King “Our Home! Our Home!”: Eugene O’Neill and Agnes Boulton at Spithead
Daniel Larner Dionysus in Diaspora: O’Neill’s Tragedy of Muted Revelries
Daniel Larner O'Neill's Fear and Pity:  the Dionysian Living Death
Haiping Liu From Beyond the Horizon to The Good Earth: Transformation of China in American Literary Consciousness
Mary K. Mallett O'Neill Family Genealogy -- Frank A. Kunckel's Letter
Jo Morello Gene & Aggie
Kara Reilly Dreaming Pipe Dreams Under the Influence of Dionysus: Nietzsche's The Birth of Tragedy as Inspiration for Eugene O'Neill's The Iceman Cometh
Madeline Smith
Richard Eaton
IT HATH MADE US MAD: Two O’Neillians’ Adventures in Bibliography
B. Thiessen The Inescapable Father:  O'Neill's Strange Interlude
B. Thiessen Alone in the Dark:  Isolation in O’Neill’s Long Day’s Journey into Night
J. Chris Westgate Stumbling Amid the Ruins: Yank’s Absurd Inheritance in The Hairy Ape
Melissa Leigh Winn The Concept of Self Deception in the Plays of Eugene O'Neill
Stephen A. Black “Beyond the Horizon” at Tao House
The Old Barn, Tao House, Danville, California, September 20-29, 2002.
Stephen A. Black Ah, Wilderness! in Cincinnati
Cincinnati Playhouse in the Park, Cincinnati, Ohio, September 3-October 4, 2002.
Yvonne Shafer Long Day's Journey Into Night
Plymouth Theatre, New York, New York, May 6-August 31, 2003.
Yvonne Shafer The Mailers and Long Day’s Journey Into Night in Provincetown
Town Hall, Provincetown, Massachusetts, August 15, 2003.
Stephen A. Black A Moon for the Misbegotten at ACT in Seattle
ACT, Seattle, Washington, September 11-28, 2003.
Marc Maufort The End of Exile? O'Neill's Long Day's Journey Into Night in Brussels
Théâtre Royal du Parc, Brussels, Belgium, October 16-November 15, 2003.
Stephen A. Black The Iceman Cometh in Manila
Dulaang Theater, the University of the Philippines, Manila, February 15-March 7, 2004.
Yvonne Shafer Mourning Become Electra -- New York City Opera
Lincoln Center, New York, New York, March 21-April 13, 2004.
Glenda Frank Beyond the Horizon -- Boomerang Theatre Company
Boomerang Theatre Company, New York, New York, September 8-26, 2004.
Stephen A. Black A Moon over Greensboro
Triad Stage, Greensboro, N.C., March 6-27, 2005.
Yuko Kurahashi Long Day’s Journey Into Night
Ensemble Theatre at the Cleveland Play House, Cleveland, February 26-March 13, 2005.
Stephen A. Black Long Day’s Journey Into Night at the Northwest Actors Studio, Seattle
Northwest Actors Studio, Seattle, Washington, April 8-30, 2005.
Yvonne Shafer Anna Christie at the Arena Stage
Arena Stage, Washington, D.C., May 6-June 19, 2005.
Norman Roessler O’Neill at the Crossroads: Anna Christie and Desire under the Elms
Anna Christie. Arena Stage (Kreeger Theater), Washington, D.C. May 25, 2005; Desire Under the Elms. American Repertory Theater (Loeb Stage), May 26, 2005.
Kurt Eisen “E.G.O.,” New Play About Eugene O’Neill Surprises, Charms Audience
Provincetown Theater, June 18, 2005.
Yvonne Shafer A Touch of the Poet
Roundabout Theatre Company at Studio 54, New York, November 11, 2005-January 29, 2006.
Glenda Frank An American Tragedy
A Touch of the Poet. Roundabout Theatre Company at Studio 54, New York, November 11, 2005-January 29, 2006.
Andrea Grunert The Byrne-Touch
A Touch of the Poet. Roundabout Theatre Company at Studio 54, New York, November 11, 2005-January 29, 2006.

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Editor’s Foreword

This "Pre-Laconics" issue of Laconics compiles papers published in the " Essays" section from 1999-2005.

My original concept of " Essays" was as an online publishing house where essays on O'Neill and the theatre could be published in a timely manner and without the constraints and limitations of a conventional literary journal. It would be open to all—high school students and heads of university departments—and everything submitted would be published, as long as it was of an appropriate subject matter and not illiterate.

Over the years, I've received numerous queries as to how submitted essays were evaluated for publication. When I've replied with the above explanation, I've received a polite "thank you" in response, the inquirer never to be heard from again. I finally came to the realization that for the "publish or perish" types who inhabit most American universities, was not an acceptable place to publish their papers since, because of its "open door" policy, it "didn't count."

This matter has been hotly debated on this website, and a peer reviewed version of the "Essays" section has been considered. But I keep coming back to Professor Charles Carpenter's words which appeared on our "Forum" in June of 2001:

I have a lifetime of paying attention to modes of publication behind me, having been a college librarian before I was a professor, a specialist in literary bibliography, and a modern drama bibliographer ad nauseum (well, from 1974 to 1993). Moreover, I have a project underway—the drama chronology—that I intend to publish on a website well before I try to publish it as a book (if I ever do). So maybe my perspective will be of some value.

I think it's wonderful that you have made online publication of original essays possible for a great variety of people. There's a continuum of types of material that you'll probably see over the years, ranging from essays you will clearly not care to duplicate if you are to keep the website respectable, to essays that are clear candidates for journal publication but which may profit from comments by scholars. I don't think you should ever expect to contribute to anyone's quest to publish rather than perish; "published" in academe still means printed versions of essays carefully refereed by specialists. The referee business is NOT a business you will want to get into; talking profs into doing the job of evaluation, then getting them to finish the work and return it in a reasonable time has driven many journal editors insane. However, supplying the service of putting something online and inviting comments is potentially a great contribution, if only people take advantage of the opportunity.

In between these poles I can visualize high-quality secondary school essays, made noteworthy mostly because they ARE by high school students; trial-run essays by college undergraduates and graduate students (some of which you might reject until revised with help from mentors); essays by people unconnected with academe—some more interested in thea-tah than in dramatic literature, some trying to get their feet wet with opinions or observations that strike them as worth airing, and others who have had unique experiences involving productions or acquaintances; and some who send informational essays that are worth adding to a storehouse of material on O'Neill even if they are not of the quality or interest that could get them published in a journal.

You are now running forums that have their own particular value and interest; you are copying published essays and books; you are duplicating a variety of other reference material; and you are trying to attract essays even the best of which probably won't end up in print unless they are revised. That's a very substantial contribution. I'm primarily a Shavian, and we have no website that does any of these things. It must be frustrating to have very little participation in contrast to the tons there might be, but all you can do is the best you can do, and you are doing it very well.

Heeding Professor Carpenter's advice, Laconics is not a peer reviewed vehicle. However, as The Eugene O'Neill Review continues to distance itself from Fred Wilkins' Eugene O'Neill Newsletter, Laconics will serve as a destination for the pithy, provocative, far-flung articles embraced by the original Newsletter. The Review currently favors long essays of 25-30 pages, and will be less inclined to publish shorter essays, such as conference papers in the form in which they were presented.

Laconics welcomes provocative articles of any length concerning the life, times, and work of Eugene O’Neill and his contemporaries. Please submit papers (with digital images, if appropriate) to the Laconics Editor.

—Harley Hammerman


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