Menu Bar


Editor: Harley Hammerman
St. Louis, Missouri

Volume 1



William Davies King What Did Eugene O’Neill Look Like Naked?: Trouble in the Flesh
Richard Compson Sater Between Men: Gay Sensibility and The Great God Brown  (1 response)
Rupendra Guha Majumdar O’Neill’s American Precursors
Glenda E. Gill Eugene O'Neill and Paul Robeson: An Uneasy Collaboration in Three of O'Neill's Early Plays  (2 response, 1 reply)
George Monteiro John Francis, Go-Between for Provincetown and the Players  (2 responses)
William M. Peterson Diff’rent: Variations on a Theme
Mariko Hori On Two Major Recent Productions of O’Neill in Japan
Madeline C. Smith
Richard Eaton
Dismissed without Prejudice: O'Neill's Anti-Semitism or, Some of My Best Friends. . .
Richard Brucher Anna Christie and Christy Mahon
Elizabeth Oldman Yank’s Consciousness of Alienation in O’Neill’s The Hairy Ape
Eileen Herrmann-Miller The Sea versus Anna: Metaphoric Contrarieties
Richard Compson Sater Eugene O’Neill and John Ford: Their Long Voyage Home
Richard Compson Sater O’Neill’s S.S. Glencairn Cycle: Page Vs. Stage
Michael C. O'Neill O'Neill's Ireland: Old Sod or Blarney Bog?
Martha Gilman Bower All God’s Chillun: Religion and “Painty Faces” versus the NAACP and the Provincetown Players
Rosemary McLaughlin From Paterson to P’town: How a Silk Strike in New Jersey Inspired the Provincetown Players
Yvonne Shafer Filtering America’s Past Through Sunlight: Eugene O’Neill’s Ah, Wilderness!
Harley J Hammerman Debunking "The Screenews of War"
(4 responses, 1 reply)
Joanne Greco Rochman “Misbegotten” Is Memorable Pietà
Hartford Stage, Hartford, Connecticut, January 5, 2006-February 6, 2006.
Harley Hammerman Documentary 101: Eugene O’Neill – The Genius of Ric Burns
Eugene O’Neill – A Documentary Film, PBS, March 27, 2006.
Glenda Frank “The Emperor Jones” by Eugene O’Neill
The First Floor Theatre, La MaMa, ETC, New York, NY. Feb. 2-12, 2006; The Wooster Group, St. Ann’s Warehouse, Brooklyn, New York. March 1 - April 2, 2006.
William Davies King Hughie
Center Stage Theater; SBT: The Santa Barbara Theatre in association with The Namaste Theatre, April 7-15, 2006.
Robert M. Dowling "Money, Money, Money, Money…MONEY!"
Marco Millions (based on lies). Waterwell, Lion at Theatre Row, 410 W. 42nd Street, New York, NY.  August 4-26, 2006.
Anna Airoldi A Compassionate and Wonderfully Acted Moon
A Moon for the MisbegottenThe Old Vic Theatre, London, England, September 15 - December 23, 2006.

*          *          *          *          *

Editor’s Foreword

Welcome to Volume 1 of Laconics. Essays accepted for publication throughout the year will be added to the above table of contents. I think you'll find our essays provocative and entertaining.

I'm sure many of you realize that "Laconics" is the name of the column in the New London Telegraph where some of O'Neill's poetry first appeared. However, the name of our new online journal is more than just an homage to young Gene's abortive attempts at verse. The word "laconic" can be defined as both concise and pithy. While contributions to Laconics will not be limited as to length, we welcome shorter, more concise papers, such as those presented at conferences. These articles are currently less acceptable for publication in The Eugene O'Neill Review, which favors long essays of 25-30 pages. We also welcome the more pithy, controversial papers which are sometimes shunned by academics.

Laconics solicits essays from authors who have something to say about O'Neill, his work, and the theatre, and who have a desire to share their thoughts with others. Laconics also solicits essays from authors who want to share their thoughts with a much wider and larger audience than exists for print journals such as The Eugene O'Neill Review. There were almost 180,000 visitors to this past March—a potential audience significantly greater than the circulation of the average academic journal. Publication in Laconics will not get one reimbursed for travel to their favorite meeting destination, and it may not put a notch in one's academic belt. However, publication in Laconics will allow one to share their ideas with others, which is what academics should be all about.

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


© Copyright 1999-2011