All God’s Chillun Got Wings

Basile, Michael. ‘Semiotic transformability in All God’s Chillun Got Wings.’ Eugene O’Neill Review 16 i 1992 25-37 [S7]

Bernstein, Samuel J. ‘Making it, madness, and motherhood: the deep structure of All God’s Chillun Got Wings.’ Eugene O’Neill Review 28 2006 50-61

Bigsby, C. W. E. A  critical introduction  to twentieth-century American drama, I: 1900-1940. Cambridge: Cambridge UP, 1982, 58-60

Black, Cheryl. ‘After the Emperor: interracial collaborations between Provincetown alumni and black theatre artists c. 1924-1946.’ Journal of American Drama and Theatre 20 i 2008 5-26

Black, Stephen  A. Eugene O’Neill: beyond  mourning and tragedy. New Haven, CT: Yale UP, 2000, 301-06

Bogard, Travis. Contour in time: the plays of Eugene O’Neill. Rev. ed. NY: Oxford UP, 1988, 191-99

Brucher, Richard. ‘O’Neill, Othello and Robeson.’ Eugene O’Neill Review 1994 45-58 [S13]

Comarnescu, Petru. O’Neill Õi renaÕterea tragediei. Cluj: Dacia, 1986, 208-13: ‘All God’s Chillun Got Wings (ToÛi copiii lui Dumnezeu au aripi)’

Dorinson, Joseph. ‘O’Neill and Paul Robeson: climbing Jacob’s ladder.’ Pp 250-69 in Herrmann

Engel, Edwin A. The haunted heroes of Eugene O’Neill. Cambridge, MA: Harvard UP, 1953, 116-26: ‘Only God’s chillun got wings’

Filipowicz-Findlay, Halina. Eugene O’Neill. Warsaw: Wiedza Powszechna, 1975, 116-24

Floyd, Virginia. The plays of Eugene O’Neill: a new assessment. NY: Ungar, 1985, 257-69

Frank, Glenda. ‘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 2000 75-89; repr. on pp 31-43 in Arthur Gewirtz & James J. Kolb, eds. Art, glitter, and glitz: mainstream playwrights and popular theatre in 1920s America. Westport, CT: Praeger, 2004

Hinden, Michael. ‘The transitional nature of  All God’s Chillun Got Wings.’ Eugene O’Neill Newsletter 4 i-ii 1980 3-5 [S33]

Holton, Deborah W. ‘Revealing blindness, revealing vision: interpreting O’Neill’s black female characters in Moon of the Caribbees, The Dreamy Kid and All God’s Chillun Got Wings.’ Eugene O’Neill Review 19 1995 29-44 [S34]

Köhler, Klaus. Eugene O’Neill’s antiheroes and their major precursors from late nineteenth to early twentieth century European drama. Dresden: Progressmedia, 2003, 55-58: ‘The frustrated opportunist: All God’s Chillun Got Wings’

Kolin, Philip C. ‘All God’s Chillun Got Wings and Macbeth.’ Eugene O’Neill Newsletter 12 i 1988 55-61 [S38]

Krafchick, Marcelline. ‘All God’s chillun play games.’ Pp 231-38 in Liu [S103]

Lewis, Ward B. Eugene O’Neill: the German reception of America’s first dramatist. NY: Lang, 1984, 50-62

Lind, Ilse D. ‘Faulkner’s use of poetic drama.’ Pp 66-81 in Evans Harrington & Ann J. Abadie, eds. Faulkner, modernism, and film: Faulkner and Yoknapatawpha. Jackson: UP of Mississippi, 1979 [S104]

Mandl, Bette. ‘Theatricality and otherness in  All God’s Chillun Got Wings.’ Pp 48-56 in June Schlueter, ed. Feminist rereadings of modern American drama. Rutherford, NJ: Fairleigh Dickinson UP, 1989 [S106]

Manheim, Michael. Eugene O’Neill’s new language of  kinship. Syracuse, NY: Syracuse UP, 1982, 30-35

Müller, Kurt. Konventionen  und Tendenzen der Gesellschaftskritik im expressionistischen amerikanischen Drama der zwanziger Jahre. Frankfurt: Lang, 1977, 97-127: ‘Die Behandlung der Rassen- und Klassenproblematik in den expressionistischen Stücken O’Neills’ (103-15 on the play)

Musser, Charles. ‘To redream  the dreams of white playwrights: reappropriation and resistance in Oscar Micheaux’s body and soul.’ Yale Journal of Criticism 12 1999 321-56; ‘Troubled relations: Robeson, Eugene O’Neill, and Oscar Micheaux.’ Pp 81-104 in Jeffrey C. Stewart, ed. Paul Robeson: artist and citizen. New Brunswick, NJ: Rutgers UP & Paul Robeson Cultural Center, 1998 [S112]

Nastić, Radmila. ‘Sva bozja deca . . . Judzina O’Nila.’ Pozorište 29 1987 99-103

Orr, John. Tragic drama and modern society: a sociology of dramatic form  from 1880 to the present. 2^nd ed. Basingstoke: Macmillan, 1989, 177-82

Prachand, Leena. ‘Politics of gender in All God’s Chillun Got Wings and Desire Under the Elms.’ Pp 79-85 in J. L. Plakkoottam & Prashant K Sinha, eds. Literature and politics in twentieth century America. Hyderabad: American Studies Research Center, 1993 [S115]

Press, Marcia. ‘Black man—white woman: the “lynch pattern” as morality play.’ Pp 57-68 in Karelisa V. Hartigan, ed. Text and presentation: the University of Florida Department of Classics Comparative Drama Conference papers, volume VIII. Lanham, MD: UP of America, 1988 [S116]

Raleigh, John H. The plays of Eugene O’Neill. Carbondale: Southern Illinois UP, 1965, 110-18

Roberts, Brian R. ‘A London legacy of Ira Aldridge: Henry Francis Downing and the paratheatrical poetics of plot and cast(e).’ Modern Drama 55 2012 386-406

Robinson, James A. ‘Christianity and  All God’s Chillun Got Wings.’ Eugene O’Neill Newsletter 2 i 1978 1-3 [S55]

Shafer, Yvonne. Performing O’Neill: conversations with actors and directors. NY: St. Martin’s Pr., 2001, 14-18

Shaughnessy, Edward L. Down  the nights and down the days: Eugene O’Neill’s Catholic sensibility. Notre Dame, IN: Univ. of Notre Dame Pr., 1996, 87-94

Tiusanen, Timo. O’Neill’s scenic images. Princeton, NJ: Princeton UP, 1968, 174-82

Törnqvist, Egil. A drama of souls: studies in O’Neill’s super-naturalistic technique. New Haven, CT: Yale UP, 1969, see index

Tuck, Susan. ‘White dreams, black nightmares: All God’s Chillun Got Wings and [Faulkner’s] Light in August.’ Eugene O’Neill Newsletter 12 i 1988 48-55 [S66]

Ullom, Jeffrey. ‘Fear mongering, media intimidation, and political machinations: tracing the agendas behind the All God’s Chillun Got Wings controversy.’ Comparative Drama 45 ii 2011 81-97

Wainscott, Ronald H. Staging O’Neill: the experimental years, 1920-1934. New Haven, CT: Yale UP, 1988, 147-56

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