Raleigh, John H., ed. Twentieth century interpretations of The Iceman Cometh: a collection of critical essays. Englewood Cliffs, NJ: Prentice-Hall, 1968. 117 pp

Adam, Julie. Versions of heroism in modern American drama: redefinitions by Miller, Williams, O’Neill and Anderson. NY: St. Martin’s Pr., 1991, 136-42

Adler, Thomas P. American drama, 1940-1960: a critical history. NY: Twayne, 1994, 21-42: ‘Eugene O’Neill: “faithful realism” with a poet’s touch’ (28-32 on the play)

Ahrends, Günter. Traumwelt und Wirklichkeit im Spätwerk Eugene O’Neills. Heidelberg: Winter, 1978, 17-67

Ahuja, Chaman. Tragedy, modern temper and O’Neill. NY: Macmillan, 1984, 141-54

Alexander, Doris M. ‘Hugo of The Iceman Cometh: realism  and O’Neill.’ American Quarterly 5 1953 357-66 [M349]; repr. on pp 63-71 in Raleigh and on pp 132-42 in Herrmann

Andreach, Robert J. ‘O’Neill’s women in The Iceman Cometh.’ Renascence 18 1966 89-98 [M354]; repr. on pp 103-13 in Griffin

Arestad, Sverre. ‘The Iceman Cometh and The Wild Duck.’ Scandinavian Studies 20 1948 1-11 [M349]

Austin, Gayle. Feminist theories for dramatic criticism. Ann Arbor: Univ. of Michigan Pr., 1990, 29-37: ‘The Iceman Cometh’ [S75]

Avram, Rachmael ben. ‘Eugene O’Neill in the divided stream.’ Pp 38-47 in Jean Cazemajou & Jean C. Barat, eds. Naturalisme américain. Bordeaux-Talence: Maison des Sciences de l’Homme d’Aquitaine, 1976 [S75]

Barbera, Jack V. ‘Pipe dreams, games and delusions.’Southern Review 13 ii 1980 120-28 [S7]

Barlow, Judith E. ‘Building characters: Eugene O’Neill’s composition process.’ Pp 149-55 in Liu [S76] (Hickey and Larry)

-----. Final acts: the creation of three late O’Neill plays. Athens: Univ. of Georgia Pr., 1985, 8-62: ‘The Iceman Cometh’

Behrendt, Patricia F. ‘Images of women and the burden of myth: plagues on the houses of Gorky and O’Neill.’ Pp 161-69 in James Redmond, ed. Drama and philosophy. Themes in drama, 12. Cambridge: Cambridge UP, 1990 [S76]

Bentley, Eric. In search of theater. NY: Knopf, 1953, 233-47: ‘Trying to like O’Neill’ (from Kenyon Review 14 1952 476-92) [M163]; repr. on pp 37-50 in Raleigh, pp 331-45 in Cargill, and pp 89-98 in Gassner

-----. ‘The return of Eugene O’Neill.’ Atlantic 178 Nov 1946 64-66 [M344]; repr. on pp 125-30 in Miller

-----. Theatre of war: comments on 32 occasions. NY: Viking Pr., 1973, 64-92: ‘Eugene O’Neill’; repr. from  pp 557-75 in Perry Miller, ed. Major writers of America, volume II. NY: Harcourt, Brace, World, 1962 (87-92 on the play) [M106]

Berlin, Normand. Eugene O’Neill. London: Macmillan, 1982, 130-44

-----. ‘O’Neill and comedy: The Iceman Cometh.’ Eugene O’Neill Newsletter 12 iii 1988 3-8

-----. O’Neill’s Shakespeare. Ann Arbor: Univ. of Michigan Pr., 1993, 166-85

Bigsby, C. W. E. A  critical introduction  to twentieth-century American drama, I: 1900-1940. Cambridge: Cambridge UP, 1982, 87-91

Black, Stephen  A. Eugene O’Neill: beyond  mourning and tragedy. New Haven, CT: Yale UP, 2000, 417-29 and see index

-----. ‘Eugene O’Neill in mourning.’ Biography 11 1988 16-34; repr. with added notes in Eugene O’Neill Review 18 1994 171-88 [S10]

-----. ‘On Jason Robards as O’Neill’s Nietzschean iceman.’ Eugene O’Neill Review 17 1993 149-56 [S10]; repr. on pp 40-48 in Black et al., eds., for the Eugene O’Neill Society. Jason Robards remembered: essays and recollections. Jefferson, NC: McFarland, 2002

-----. ‘Tragic anagnorisis in The Iceman Cometh.’ Pp 17-32 in Bagchee [S78] revised in Eugene O’Neill Review 28 2006 147-64

Bloom, Steven F. ‘Drinking and drunkenness in The Iceman Cometh: a response to Mary McCarthy.’ Eugene O’Neill Newsletter 9 i 1985 3-12 [S11]

Blumberg, Marcia. ‘Eloquent stammering in the fog: O’Neill’s heritage in Mamet.’ Pp 97-111 in Bagchee [S80]

Bogard, Travis. Contour in time: the plays of Eugene O’Neill. Rev. ed. NY: Oxford UP, 1988, 412-24; repr. on pp 92-102 in Griffin

Brashear, William  R. The gorgon’s head: a study in  tragedy and despair. Athens: Univ. of Georgia Pr., 1977, 104-33: ‘The wisdom of Silenus: O’Neill’s spiritual ancestors’ (110-17 on the play; part from ‘The wisdom of Silenus in O’Neill’s Iceman.’ American Literature 36 1964 180-88 [M354])

Brietzke, Zander. The aesthetics of failure: dynamic structure in the plays of Eugene O’Neill. Jefferson, NC: McFarland, 2001, 112-25

Broussard, Louis. American drama: contemporary allegory from Eugene O’Neill to Tennessee Williams. Norman: Univ. of Oklahoma Pr., 1962, 9-38: ‘O’Neill’ (30-35 on the play)

Brown, John Mason. Seeing more things. NY: Whittlesey House, 1948, 257-65: ‘Moaning at the bar’ (reprint of review of the play entitled ‘All O’Neilling.’ Saturday Review of Literature Oct 19, 1946; also repr. in his Dramatis personae. NY: Viking, 1963, 57-62) [M110-111]

Brucher, Richard T. ‘Pernicious nostalgia in Glengarry Glen Ross.’ Pp 211-25 in Leslie Kane, ed. David Mamet’s Glengarry Glen Ross: text and performance. NY: Garland, 1996 [S82] (the relation of Mamet’s salesmen to O’Neill’s Hickey and Miller’s Willy)

Brustein, Robert. The theatre of revolt. Boston: Little, Brown, 1964, 339-48; repr. on pp 92-102 in Raleigh

Carpenter, Frederick I. Eugene O’Neill. Rev. ed. Boston: Twayne, 1979, 149-53 and see index

-----. ‘Focus on Eugene O’Neill’s The Iceman Cometh: the iceman hath come.’ Pp 158-64 in David Madden, ed. American dreams, American nightmares. Carbondale: Southern Illinois UP, 1970 [M355]

Chabrowe, Leonard. Ritual and pathos: the theater of Eugene O’Neill. Lewisburg, PA: Bucknell UP, 1976, 73-99 and see index (part from ‘Dionysus in The Iceman Cometh.’ Modern Drama 4 1962 377-88 [M355])

Chatterji, Ruby. ‘Existentialist approach to modern American drama.’ Pp 83-92 in Chatterji, ed. Existentialism  in American literature. Atlantic Highlands, NJ: Humanities Pr., 1983 [S83] (on the play and Long Day’s Journey Into Night)

Cho, Sookhee. ‘The Orestes myth and the double in Eugene O’Neill’s The Iceman Cometh.’ Journal of Modern British and American Drama (Seoul) 16 i 2003 25-53

Chopra, Ranjit K. ‘The existential dilemma in The Iceman Cometh.’ Pp 44-48 in Darshan S. Maini, ed. Variations on American literature. New Delhi: U. S. Educational Foundation in India, 1968

Chothia, Jean. Forging a language: a study of the plays of Eugene O’Neill. Cambridge: Cambridge UP, 1979, 111-42: ‘The late plays and the development of “significant form”: The Iceman Cometh’

-----. ‘Register and idiolect in The Iceman Cometh and Long Day’s Journey Into Night.’ Pp 157-63 in Liu [S84]

Choudhuri, A. D. The face of illusion in American drama. Atlantic Highlands, NJ: Humanities Pr., 1979, 74-93: ‘The Iceman Cometh: necessity of illusion’ [S84]

Cohn, Ruby. Dialogue in American drama. Bloomington: Indiana UP, 1971, 8-67: ‘The wet sponge of Eugene O’Neill’ (46-54 on the play)

-----. ‘Oh, God, I hate this job.’ Pp 155-62 in Matthew C. Roudané, ed. Approaches to teaching Miller’s Death of a Salesman. NY: MLA, 1995 [S84] (salesmen in plays by O’Neill, Miller, and Mamet)

Cole, Susan L. The absent one: mourning ritual, tragedy, and the performance of ambivalence. Univ. Park: Pennsylvania State UP, 1985, 160-65 [S84]

Comarnescu, Petru. O’Neill Õi renaÕterea tragediei. Cluj: Dacia, 1986, 156-200: ‘The Iceman Cometh (Venit-a GheÛ|ril|)’

Combs, Robert. ‘Living in the present: Pinter and O’Neill, parallels and affinities.’ Pinter Review 2000 115-21

Como, Robert M. ‘O’Neill, Beckett, and Dürrenmatt: the shared genre.’ Eugene O’Neill Review 13 ii 1989 63-72 [S16]

Curry, John. ‘The New Deal cometh: examining The Iceman Cometh and Hughie in relation to the rhetoric of the Roosevelt administration.’ Eugene O’Neill Review 33 2012 91-109

Dave, Jagdish V. ‘Eugene O’Neill’s philosophy of life in The Iceman Cometh.’ Triveni 50 i 1981 44-51

Davis, Walter A. Get the guests: psychoanalysis, modern American drama, and the audience. Madison: Univ. of Wisconsin Pr., 1994, 13-59: ‘Souls on ice: The Iceman Cometh’ [S86]

Day, Cyrus. ‘The iceman and the bridegroom: some observations on the death of O’Neill’s salesman.’ Modern Drama 1 1958 3-9 [M355]; repr. on pp 79-86 in Raleigh and on pp 177-82 in Houchin

Diggins, John P. ‘“The secret of the soul”: Eugene O’Neill’s The Iceman Cometh.’ Raritan 19 i 1999 63-76

Di Loreto, Sonia. ‘The cafe and the bar: urban interstices in Bailey’s Café and The Iceman Cometh.’ Pp 567-73 in Gigliola Nocera, ed. America today: highways and labyrinths. Siracusa: Grafià, 2003

Ditsky, John. The onstage Christ: studies in the persistence of a theme. London: Vision Pr., 1980, 93-110: ‘O’Neill’s evangel of peace: The Iceman Cometh’ [S87]

Dobrée, Bonamy. ‘Mr. O’Neill’s latest play.’ Sewanee Review 56 1948 118-26 [M350]

Doloff, Steven. ‘O’Neill’s “ice-man.”’ Eugene O’Neill Review 17 1993 231-32 [S19]; ‘Hickey’s name in Eugene O’Neill’s The Iceman Cometh.’ Onomastica Canadiana 78 i 1996  26 [S19]

Dowling, Robert M. ‘“Jimmy Tomorrow” revisited: new sources for The Iceman Cometh.’ Eugene O’Neill Review 35 2014 94-106

Driver, Tom  F. ‘On the late plays of Eugene O’Neill.’ Tulane Drama Review 3 ii 1958 8-20 [M175]; repr. on pp 110-23 in Gassner

Dubost, Thierry. ‘O’Neill’s choric design in The Iceman Cometh.’ Pp 155-72 in Bloom 3

Dugan, Lawrence. ‘O’Neill and the Wobblies: the IWW as a model for failure in The Iceman Cometh.’ Comparative Drama 36 2002 109-24

Dutta, Ujjal. ‘The Iceman Cometh: O’Neill’s theatre of alien vision.’ Journal of the Department of English (Univ. of Calcutta) 17 ii 1982 72-78 [S19]

Egri, Péter. Chekhov and O’Neill: the uses of the short story in Chekhov’s and O’Neill’s plays. Budapest: Akadémiai, 1986, 102-17

-----. ‘Eugene O’Neill: The Iceman Cometh: an epic tragicomedy of illusion and reality.’ Angol Filológiai Tanulmányok / Hungarian Studies in English 11 1977 95-105 [S20]

-----. ‘European origins and American originality: the adoption, adaptation and reinterpretation of some European models in E. O’Neill’s The Iceman Cometh.’ Annales, Universitatis Scientiarum Budapestinensis de Rolando Eötvös Nominatae: Sectio Philologica Moderna 11 1980 83-107; repr. as ‘The Iceman Cometh: European origins and American originality.’ Eugene O’Neill Newsletter 5 iii 1981 5-10; 6 i 1982 16-24; 6 ii 1982 30-36  [S88]

Eisen, Kurt. The inner strength of opposites: O’Neill’s novelistic drama and  the melodramatic imagination. Athens: Univ. of Georgia Pr., 1994, 154-80: ‘Writing on the wall: The Iceman Cometh and the crisis of history’ (from ‘The writing on the wall: novelization and the critique of history in The Iceman Cometh.’ Modern Drama 34 1991 59-73 [S22])

Engel, Edwin A. The haunted heroes of Eugene O’Neill. Cambridge, MA: Harvard UP, 1953, 277-96: ‘Dream, drunkenness, and death’

Falk, Doris V. Eugene O’Neill and the tragic tension: an interpretive study of the plays. NY: Gordian Pr., 1958, 156-66; repr. as ‘The Iceman Cometh’ on pp 87-91 in Raleigh

Filipowicz-Findlay, Halina. Eugene O’Neill. Warsaw: Wiedza Powszechna, 1975, 252-62

Flèche, Anne. Mimetic disillusion: Eugene O’Neill, Tennessee Williams, and U. S. dramatic realism. Tuscaloosa: Univ. of Alabama Pr., 1997, 43-64: ‘The Iceman Cometh: buying time’ [S91]

Fleisher, Frederic. ‘Eugene O’Neill and 1912.’ Moderna Språk 53 1959 232-40 (234-37 on the play)

Floyd, Virginia. The plays of Eugene O’Neill: a new assessment. NY: Ungar, 1985, 512-31

Forseth, Roger. ‘Denial as tragedy: the dynamics of addiction in O’Neill’s The Iceman Cometh and Long Day’s Journey Into Night.’ Dionysos 1 i 1989 10-18 [S25]

Frank, Glenda. ‘Fractured comedy: a glimpse into Eugene O’Neill’s tragic constructs.’ Eugene O’Neill Review 27 2005 135-51 (stresses Long Day’s Journey Into Night, A Touch of the Poet, and this play [145-50])

Frazer, Winifred L. E. G. and E. G. O.: Emma Goldman  and  The Iceman Cometh. Gainesville: UP of Florida, 1974 [S93]

-----. ‘King Lear and Hickey: bridegroom  and iceman.’ Modern Drama 15 1972 267-78 [M355]

-----. Love as death in  The Iceman Cometh: a modern treatment of an ancient theme. Gainesville: Univ. of Florida Monographs, Humanities # 27, 1967. 63 pp [M356]

-----. ‘O’Neill’s iceman—not ice man.’ American Literature  44 1973 677-78 [S25]

-----. ‘“Revolution” in The Iceman Cometh.’ Modern Drama 22 1979 1-8 [S25]

-----. The theme of loneliness in modern American drama. Gainesville: Univ. of Florida Pr., 1960, 26-37

Gagnon, Donald P. ‘“You needn’t be scared of me”: Joe Mott and the politics of isolation and independence in The Iceman Cometh.’ Pp 143-59 in Herrmann

Garvey, Sheila H. ‘The origins of the O’Neill renaissance: a history of the 1956 productions of The Iceman Cometh and Long Days’s Journey Into Night.’ Theatre Survey 29 1988 51-67 [S27]

-----. ‘Recreating a myth: The Iceman Cometh in Washington, 1985.’ Eugene O’Neill Newsletter 9 iii 1985 17-23 [S27]; repr. (with additions) on pp 93-102 in Stephen A. Black et al., eds., for the Eugene O’Neill Society. Jason Robards remembered: essays and recollections. Jefferson, NC: McFarland, 2002

Gilmore, Thomas B. Equivocal spirits: alcoholism and drinking in twentieth-century literature. Chapel Hill: Univ. of North Carolina Pr., 1987, 48-61: ‘The Iceman Cometh and the anatomy of alcoholism’ [S96] (from  Comparative Drama 18 1984 335-47 [S29])

Glicksberg, Charles I. The ironic vision in modern literature. The Hague: Nijhoff, 1972, 151-56: ‘O’Neill and The Iceman Cometh’

Glover, Christopher S. ‘Female characters in (and not in) Eugene O’Neill’s The Iceman Cometh: tracing twentieth-century feminist response into a new era.’ Eugene O’Neill Review 25 2001 12-23

Goyal, Bhagwat S. The strategy of survival: human  significance of O’Neill’s plays. Ghaziabad: Vimal, 1975, 194-201

Gramm, Julie M. ‘“Tomorrow”: from  whence the iceman cometh.’ Eugene O’Neill Review 15 i 1991 78-92 [S29] (O’Neill’s short story)

Grawe, Paul H. Comedy in space, time, and the imagination. Chicago, IL: Nelson-Hall, 1983, 221-35: ‘The Iceman Cometh’ [S97]

Grecco, Stephen R. ‘High hopes: Eugene O’Neill and alcohol.’ Yale French Studies 50 1974 142-49 [S30]

Haas, Rudolf. ‘Eugene O’Neill: The Iceman Cometh.’ Pp 86-105 in Paul Goetsch, ed. Das amerikanische Drama. Düsseldorf: Bagel, 1974

-----. ‘“Tristitia” und “Nobiskrug”: zwei mögliche Motive in The Iceman Cometh.’ Pp 144-52 in Hans Helmcke et al., eds. Literatur und Sprache der Vereinigten Staaten. Heidelberg: Winter, 1969

Hall, Ann C. “A Kind of Alaska”: women in the plays of O’Neill, Pinter, and Shepard. Carbondale: Southern Illinois UP, 1993, 17-53: ‘“What is a man without a good woman’s love?”: O’Neill’s madonnas’ (26-35 on the play) [S98] (from ‘High anxiety: women in Eugene O’Neill’s The Iceman Cometh.’ Recorder 3 i 1989 45-51 [S31])

Hawley, William. ‘The Iceman Cometh and the critics—1946, 1956, 1973.’ Eugene O’Neill Newsletter 9 iii 1985 5-10 [S32]

Hays, Peter L. ‘Hemingway’s “A Clean Well-Lighted Place” and O’Neill’s Iceman.’ Eugene O’Neill Review 22 1998 70-76 [S32]

Heilman, Robert B. Tragedy and melodrama: versions of experience. Seattle: Univ. of Washington Pr., 1968, 49-55

Hinden, Michael. ‘“The right kind of pity”: notes on O’Neill’s revisions for The Iceman Cometh.’ Resources for American Literary Study 26 2000 1-12

Hopkins, Vivian C. ‘The Iceman Cometh seen through [Gorki’s] The Lower Depths.’ College English 11 1949 81-87 [M350]

Hornby, Richard. ‘O’Neill’s “Death of a Salesman.”’ Journal of Dramatic Theory and Criticism 2 ii 1988 53-59 [S34]

Innes, Christopher D. ‘The salesman on the stage: a study in the social influence of drama.’ English Studies in Canada 3 1977 336-50 [S35] (O’Neill’s compared to Miller’s and Gelber’s)

Iyengar, K. R. Srinivasa. ‘O’Neill: the last phase.’ Literary Criterion 5 Winter 1961 44-54 (44-50 on the play)

Kahn, Sy. ‘O’Neill’s legion of losers in The Iceman Cometh.’ Pp 205-13 in Warren French, ed. The forties. Deland, FL: Everett / Edwards, 1969 [M356]

King, William D. ‘Oresteian structures in The Iceman Cometh.’ Eugene O’Neill Review 27 2005 126-34

Kirchner, Gustav. ‘Eugene O’Neill: The Iceman Cometh.’ Neuphilologische Zeitschrift 2 1950 28-37

Köhler, Klaus. Eugene O’Neill’s antiheroes and their major precursors from late nineteenth to early twentieth century European drama. Dresden: Progressmedia, 2003, 110-17

Langner, Lawrence. The magic curtain. NY: Dutton, 1951, 397-409: ‘O’Neill and The Iceman Cometh’

Larner, Daniel. ‘Dionysus in diaspora: O’Neill’s tragedy of muted revelries.’ Eugene O’Neill Review 24 2000 13-19

-----. ‘O’Neill’s fear and pity: the Dionysian living death.’ Eugene O’Neill Review 23 1999 141-49

Leadbeater, Lewis W. ‘Aristophanes and O’Neill: Hickey as comic hero.’ Classical and Modern Literature 12 1992 361-74 [S39]

Lee, Dae-Suk. ‘A comparative study of Anouilh’s Antigone and O’Neill’s The Iceman Cometh: the similarity and ambivalence of the main themes.’ Immun Nonchong (Korea) 14 1987 221-38

Lee, E. Andrew. ‘The image of Irish in the life and work of Eugene O’Neill.’ Eugene O’Neill Review 35 2014 137-60 (150-52 on the play)

Lee, Robert C. ‘Evangelism  and anarchy in The Iceman Cometh.’ Modern Drama 12 1969 173-86 [M356]

Leech, Clifford. Eugene O’Neill. NY: Grove Pr., 1963, 99-108

Lewis, Ward B. Eugene O’Neill: the German reception of America’s first dramatist. NY: Lang, 1984, 104-09

LoCicero, Donald. ‘Arthur Schnitzler and Eugene O’Neill: masks, pipe-dreams, and reality.’ Journal of the International Arthur Schnitzler Research Association 4 iii 1965 27-42 (Der grüne Kakadu and the play)

Long, Chester C. The role of nemesis in the structure of selected plays by Eugene O’Neill. The Hague: Mouton, 1968, 175-97

Mandl, Bette. ‘Absence as presence: the second sex in The Iceman Cometh.’ Eugene O’Neill Newsletter 6 ii 1982 10-15 [S41]; repr. on pp 184-90 in Houchin

Manheim, Michael. Eugene O’Neill’s new language of  kinship. Syracuse, NY: Syracuse UP, 1982, 131-56

-----. ‘The transcendence of melodrama in O’Neill’s The Iceman Cometh.’ Pp 145-58 in Martine [S106]

-----. Vital contradictions: characterization in the plays of Ibsen, Strindberg, Chekhov and O’Neill. Brussels: Lang, 2002, 167-78

Mathur, Charu. Women in the plays of Eugene O’Neill and Tennessee Williams. Jaipur: Rawat, 2002, 50-59

Maufort, Marc. Labyrinth of hybridities: avatars of O’Neillian realism in multi-ethnic American drama (1972-2003). Brussels: Lang, 2010. 241 pp (many references to the play; see index)

-----. ‘Mirrors of consciousness: narrative patterns in O’Neill’s The Iceman Cometh.’ Pp 165-73 in Liu [S109]

-----. Songs of American  experience: the vision of O’Neill and Melville. NY: Lang, 1990, see index (incorporates part of the following article)

-----. ‘Tragedy and solipsism: the kinship of Moby Dick and The Iceman Cometh.’ Recorder 3 1 1989 27-36 [S43]

McCarthy, Mary. Mary McCarthy’s theatre chronicles 1937-1962. NY: Noonday Pr., 1963, 81-88: ‘Eugene O’Neill—dry ice’ (from  review in Partisan Review 13 1946 577-79); repr. on pp 50-53 in Raleigh

McDonough, Edwin J. Quintero directs O’Neill: an examination of eleven plays of Eugene O’Neill staged by José Quintero in New York City, 1956-1981. Chicago: A Capella Books, 1991, 16-45: ‘The Iceman Cometh [1956]’; 254-67: ‘The Iceman Cometh [1985]’

Metwally, Abdalla A. Studies in modern drama, I. Beirut: Beirut Arab Univ., 1971, 111-39: ‘European roots in O’Neill’s The Iceman Cometh’

Miliora, Maria T. Narcissism, the family, and  madness: a self-psychological study of Eugene O’Neill and his plays. NY: Lang, 2000, 129-34

Miller, Eileen. ‘The Turks on O’Neill: putting the iceman on ice.’ Eugene O’Neill Review 20 1996 88-96 [S45]

Morrison, James. ‘Live TV, filmed theater, and the new Hollywood: John Frankheimer’s The Iceman Cometh.’ Pp 170-85 in Murray Pomerance & R. Barton Palmer, eds. A little solitaire: John Frankenheimer and American film.’ New Brunswick, NJ: Rutgers UP, 2011

Morse, Donald E. ‘The “life lie” in three plays by O’Neill, Williams, and Miller.’ Pp 273-77 in Mirko Jurak, ed. Cross-cultural studies: American, Canadian and European literatures: 1945-1985. Ljubljana: English Department Filozofska Fakulteta, Edvard Kardelj Univ., 1988 [S111]

Mounier, Catherine. ‘Le marchand de glace est passé d’Eugene O’Neill et le mise en scène de Gabriel Garran au Théâtre de la Commune d’Aubervilliers.’ Pp 65-102 in Jean Jacquot & Denis Bablet, eds. Les voies de la création théâtrale, IV. Paris: Centre National de la Recherche Scientifique, 1975

Muchnic, Helen. ‘Circe’s swine: plays by Gorky and O’Neill.’ Comparative Literature 3 1951 119-28 [M350]; repr. as ‘The irrelevancy of belief: The Iceman and The Lower Depths’ on pp 103-12 in Raleigh, pp 431-42 in Cargill, and pp 99-109 in Gassner

Murphy, Brenda. American realism and American drama, 1880-1940. Cambridge: Cambridge UP, 1987, 187-91

-----. ‘The “genius” as iceman: Eugene O’Neill’s portrayal of Theodore Dreiser.’ American Literary Realism 34 2002 135-45

-----. ‘The Iceman Cometh in context: an American saloon trilogy.’ Eugene O’Neill Review 26 2004 214-25

Murray, David A. ‘O’Neill’s transvaluation of pessimism  in The Iceman Cometh.’ Eugene O’Neill Review 16 ii 1992 73-79 [S46]

Myers, Henry A. Tragedy: a view of life. Ithaca, NY: Cornell UP, 1956, 98-109: ‘Macbeth and The Iceman Cometh: equivalence and ambivalence in tragedy’ [M139]

Nathan, George J. Theatre book of the year, 1946-1947. NY: Knopf, 1947, 93-111; repr. on pp 395-411 in Charles Angoff, ed. The world of George Jean Nathan. NY: Knopf, 1952  (expanded review of the play)

Neu, Jerome. ‘Life-lies and pipe dreams: self-deception in Ibsen’s The Wild Duck and O’Neill’s The Iceman Cometh.’ Philosophical Forum 19 1988 241-69 [S48]

Orlandello, John. O’Neill on film. Rutherford, NJ: Fairleigh Dickinson UP, 1982, 146-61: ‘The Iceman Cometh (1973)’

Orr, John. Tragic drama and modern society: a sociology of dramatic form  from 1880 to the present. 2^nd ed. Basingstoke: Macmillan, 1989, 189-96

Pfister, Joel. Staging depth: Eugene O’Neill and the politics of psychological discourse. Chapel Hill: Univ. of North Carolina Pr., 1995, 98-104: ‘O’Neill’s critique of psychological discourse and Iceman’

Porter, Laurin R. The banished prince: time, memory, and ritual in the late plays of Eugene O’Neill. Ann Arbor, MI: UMI Research Pr., 1988, 63-77: ‘The Iceman Cometh and Hughie: tomorrow is yesterday’ (63-72 on the play)

-----. ‘The Iceman Cometh as crossroad in O’Neill’s long journey.’ Modern Drama 31 1988 52-62 [S51]

Presley, Delma E. ‘O’Neill’s iceman: another meaning.’ American Literature  42 1970 387-88 [M356]

Proehl, Geoffrey S. Coming home again: American family drama and the figure of the prodigal son. Madison, NJ: Fairleigh Dickinson UP, 1997, 87-89, 129-31, 145-48, and see index

Quinn, James P. ‘The Iceman Cometh: O’Neill’s long day’s journey into adolescence.’ Journal of Popular Culture 6 1972 171-77 [M357]

Quintero, José. If you don’t dance they beat you. Boston: Little, Brown, 1974, 149-71: ‘The Iceman Cometh’