Strange Interlude

Acharya, Shanta. ‘Beyond the “New Woman” in O’Neill’s Strange Interlude.’ Triveni 48 iv 1980 57-65 [S5]

Adler, Thomas P. ‘(Re)claiming O’Neill’s Strange Interlude as a modernist theatre text.’ Pp 3-10 in Arthur Gewirtz & James J. Kolb, eds. Art, glitter, and glitz: mainstream playwrights and popular theatre in 1920s America. Westport, CT: Praeger, 2004

Ahuja, Chaman. Tragedy, modern temper and O’Neill. NY: Macmillan, 1984, 95-100

Alagna, Giulia. ‘L’“aside” in Strange Interlude.’ Blue Guitar (Messina) 2 1976 219-31

Alexander, Doris M. Eugene O’Neill’s creative struggle: the decisive decade, 1924-1933. Univ. Park: Pennsylvania State UP, 1992, 103-27: ‘Strange Interlude’

-----. ‘Strange Interlude and Schopenhauer.’ American Literature  25 1953 213-28 [M445]; repr. on pp 105-17 in Houchin

Battenhouse, Roy. ‘Strange Interlude restudied.’ Religion in Life 15 1946 202-13 [M446]

Berlin, Normand. Eugene O’Neill. London: Macmillan, 1982, 96-103

-----. O’Neill’s Shakespeare. Ann Arbor: Univ. of Michigan Pr., 1993, 88-97

-----. ‘O’Neill the novelist.’ Modern Drama 34 1991 49-58 [S9] (stresses the play)

Biese, Y. M. ‘Eugene O’Neill’s Strange Interlude, and the linguistic presentation of the interior monologue.’ Annales Academiae Scientiarum Fennicae 118 iii 1963 1-73

Bigsby, C. W. E. A  critical introduction  to twentieth-century American drama, I: 1900-1940. Cambridge: Cambridge UP, 1982, 71-75

Black, Stephen  A. Eugene O’Neill: beyond  mourning and tragedy. New Haven, CT: Yale UP, 2000, 344-48 and see index

Bogard, Travis. Contour in time: the plays of Eugene O’Neill. Rev. ed. NY: Oxford UP, 1988, 294-315

Borchers, Hans. ‘“Those profound hidden conflicts of the mind”: zur Rezeption psychanalytischer Konzepte in O’Neills Dramen Strange Interlude and Mourning Becomes Electra.’ Pp 87-108 in Halfmann

Brashear, W. 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’ (117-26 on the play)

Brietzke, Zander. The aesthetics of failure: dynamic structure in the plays of Eugene O’Neill. Jefferson, NC: McFarland, 2001, 36-42

Callens, Johan. ‘O’Neill: het leven als tussenspiel.’ Etcetera 30 1990 51-55

Camilucci, Marcello. ‘Il dramma dell’interiorità: Strano interludio.’ Studium 69 1973 201-09

Cargill, Oscar. Intellectual America: ideas on the march. NY: Macmillan, 1941, 685-720: ‘The Freudians’ (703-08 on the play)

Carlson, Marvin. ‘Ronconi’s Strange Interlude.’ Western European Stages 4 i 1992 62-66; Sfyris, Panagiotis. ‘Luca Ronconi / Eugene O’Neill: an American tragedy.’ Western European Stages 10 i 1998 63-66

Carpenter, Frederick I. Eugene O’Neill. Rev. ed. Boston: Twayne, 1979, 119-24 and see index

-----. ‘Strange Interlude—strange criticism.’ Eugene O’Neill Newsletter 8 iii 1984 22-24; reply by Albert E. Kalson, 24-26 [S14]

Case, Claudia W. ‘What they really saw: using archives to reconstruct the censored performance of Eugene O’Neill’s Strange Interlude.’ Pp 99-116 in Performance reclamation: research, discovery, and interpretation. NY City Center: Theatre Library Association, 2008 (proceedings of the second symposium; also issued as Performing Arts Resources 26 2008 99-116)

Castro, Ginette. ‘Les femmes dans le théâtre d’O’Neill: essai d’interprétation féministe.’ Annales du Centre des Recherches sur l’Amérique Anglophone 3 1977 131-58

Chabrowe, Leonard. Ritual and pathos: the theater of Eugene O’Neill. Lewisburg, PA: Bucknell UP, 1976, 134-41

Choi, Y.-J. ‘The American playwright’s social response between the wars: centering on Eugene O’Neill’s The Hairy Ape, The Great God Brown and Strange Interlude.’ Journal of Modern British and American Drama (Seoul) 15 iii 2002 199-231

Chura, Patrick. ‘O’Neill’s Strange Interlude and the “strange marriage” of Louise Bryant.’ Eugene O’Neill Review 30 2008 7-20

Comarnescu, Petru. O’Neill Õi renaÕterea tragediei. Cluj: Dacia, 1986,  252-98: ‘Introducere la Straniul interludiu’ (repr. from  pp 252-98 of Scrieri despre teatru. Ed. Mircea Filip. IaÕi: Junimea, 1977, 97-148 (1939 essay)

Cotsell, Michael. The theater of trauma: American modernist drama and the psychological struggle for the American mind, 1900-1930. NY: Lang, 2005, 195-204

Dahl, Liisa. ‘The connective links between the dialogue and the interior monologue passages in Eugene O’Neill’s Strange Interlude.’ Pp 23-32 in Studies in  classical and modern philology presented to Y. M. Biese on the occasion of his eightieth birthday 4.1.1983. Helsinki: Tiedeakatemia, 1983 [S86]

-----. Linguistic features of the stream-of-consciousness techniques of James Joyce, Virginia Woolf and Eugene O’Neill. Turku: Turun Yliopisto, 1970, 54-63

Dirvana, Nesterim. ‘Théâtre pur et rythme biologique.’ Dialogues (Istanbul) 1 i 1949 87-105

Dubost, Thierry. ‘Renaissance dans Strange Interlude.’ Americana 12 1995 69-81

-----. ‘Strange Interlude, or the pursuit of happiness revisited.’ Eugene O’Neill Review 29 2007 36-49

Egri, Péter. ‘The aftermath of World War I and the fictionalization of drama: Eugene O’Neill: Strange Interlude.’ Acta Litteraria Academiae Scientiarum Hungaricae 29 1987 75-96 [S22]

-----. The birth of American tragedy. Budapest: Tankönyvkiadó, 1988, 72-85: ‘Alienation and dramatic form: the novel, the lyric and the short story in the drama, 1: . . . Strange Interlude’

-----. ‘The epic tradition of the European drama and the birth of the American tragedy.’ Pp 753-59 in Béla Köpeczi et al., eds. Actes du VIII^e congrès de l’Association Internationale de Littérature Comparée, vol. I. Stuttgart: Kunst & Wissen, 1980 [S88]

-----. ‘High culture and popular culture in Eugene O’Neill: Strange Interlude.’ Pp 55-76 in Charlotte Kretzoi, ed. High and low in American culture. Budapest: Department of English, Loránd Eötvös Univ., 1986 [S89]

-----. ‘Sentiment and sentimentality in Eugene O’Neill’s Strange Interlude: the novel in the drama.’ Pp 155-70 in Winfried Harget, ed. Sentiment and sentimentality in modern literature and popular culture. Tübingen: Narr, 1991

Eisen, Kurt. The inner strength of opposites: O’Neill’s novelistic drama and  the melodramatic imagination. Athens: Univ. of Georgia Pr., 1994, 105-15 (from ‘Novelization and the drama of consciousness in Strange Interlude.’ Eugene O’Neill Review 14 1990 39-46 [S22])

Ellis, Ted R. ‘The materialization of Ghosts in Strange Interlude.’ American Notes and Queries 19 1981 110-14 [S23]

Engel, Edwin A. The haunted heroes of Eugene O’Neill. Cambridge, MA: Harvard UP, 1953, 199-229: ‘Everywoman’

Falk, Doris V. Eugene O’Neill and the tragic tension: an interpretive study of the plays. NY: Gordian Pr., 1958, 121-26

Feldman, Robert. ‘The longing for death in O’Neill’s Strange Interlude and Mourning Becomes Electra.’ Literature and Psychology 31 1981 39-48 [S23]

Filipowicz-Findlay, Halina. Eugene O’Neill. Warsaw: Wiedza Powszechna, 1975, 156-77

Floyd, Virginia. The plays of Eugene O’Neill: a new assessment. NY: Ungar, 1985, 334-52

Frazer, Winifred L. The theme of loneliness in  modern American drama. Gainesville: Univ. of Florida Pr., 1960, 101-12

Gerbaud, Colette. ‘Péché ou prostitution sacrée? dans Strange Interlude de Eugène O’Neill.’ Imaginaires 2 1997 179-93

Gilli, Stefano. ‘Il lungo viaggio di Edipo.’ Pp 237-55 in Giorgio Bàrberi Squarotti, ed. La letteratura in scena: il teatro del Novecento. Turin: Tirrenia, 1985 (O’Neill and two other dramatists)

Glicksberg, Charles I. The sexual revolution in modern American literature. The Hague: Nijhoff, 1971, 68-81: ‘Eugene O’Neill: the tragedy of love without God’ (stresses the play)

Goyal, Bhagwat S. The strategy of survival: human  significance of O’Neill’s plays. Ghaziabad: Vimal, 1975, 121-24, 185-89

Grabher, Gudrun M. ‘Sinful silence? Ethical implications of concealment in Eugene O’Neill’s Strange Interlude.’ Pp 353-63 in Grabher & Ulrike Jessner, eds. Semantics of silences in linguistics and literature. Heidelberg: Winter, 1996 [S96]

Gross, Robert F. ‘O’Neill’s queer interlude: epicene excess and camp pleasures.’ Journal of Dramatic Theory and Criticism 12 i 1997 3-22 [S30]

Herron, Ima H. The small town in American drama. Dallas, TX: Southern Methodist UP, 1968, 272-337: ‘O’Neill’s lost townsmen’ (296-300 on the play)

Higgs, Robert J. Laurel & thorn: the athlete in American literature. Lexington: Univ. of Kentucky Pr., 1981, 51-62: ‘The apotheosized WASP’; 55-62 on Gordon Shaw [S99]

Houchin, John H. ‘Eugene O’Neill’s “woman play” in Boston.’ Eugene O’Neill Review 22 1998 48-62 [S34]

Johnson, Katie N. ‘When strange is good: a neo-futurist Strange Interlude.’ Eugene O’Neill Review 31 2009 114-21 (the 2009 Goodman Theatre performance)

Karin, Asim. ‘Trauma of subjective memory in Strange Interlude and Long Day’s Journey Into Night.’ Asian Social Science 6 ix 2010 156-67

Kennicott, Laigh. ‘Asides in O’Neill’s Strange Interlude: an empirical study.’ On-Stage Studies 20 1997 48-64

Kerjan, Liliane. ‘Strange Interlude ou les vertiges de la fièvre tierce.’ Études Anglaises 47 1994 427-35

Krutch, Joseph W. The American drama since 1918: an informal history. NY: Random House, 1939, 73-133: ‘Tragedy: Eugene O’Neill’ (100-106 on the play)

Langner, Lawrence. The magic curtain. NY: Dutton, 1951, 228-42: ‘O’Neill and Strange Interlude’

Leech, Clifford. Eugene O’Neill. NY: Grove Pr., 1963, 73-82

Lewis, Ward B. Eugene O’Neill: the German reception of America’s first dramatist. NY: Lang, 1984, 69-78

Mandl, Bette. ‘Gender as design in Eugene O’Neill’s Strange Interlude.’ Eugene O’Neill Review 19 1995 123-38 [S41]

-----. ‘“Thinking aloud” in Eugene O’Neill’s Strange Interlude.’ Eugene O’Neill Review 26 2004 24-30

Manheim, Michael. Eugene O’Neill’s new language of  kinship. Syracuse, NY: Syracuse UP, 1982, 60-71

Mathur, Charu. Women in the plays of Eugene O’Neill and Tennessee Williams. Jaipur: Rawat, 2002, 34-48

Maufort, Marc. ‘Communication as translation of the self: Jamesian inner monologue in O’Neill’s Strange Interlude.’ Pp 319-28 in Gilbert Debusscher & Jean P. Van Noppen, eds. Communiquer et traduire: hommages à Jean Dierickx. Brussels: Editions de l’Université de Bruxelles, 1985 [S108]

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, 81-106: ‘Strange Interlude [1963]’ 

McLaughlin, Bruce W. ‘Strange Interlude and The Divine Comedy.’ Theatre Journal (Albany) 12 ii 1973 20-30 [S44]

Miller, Jordan Y., & Winifred Frazer. American drama between  the wars: a critical history. NY: G. K. Hall, 1991, 78-84

Mirlas, León. O’Neill y el teatro contemporáneo. Buenos Aires: Sudamericana, 1950, 163-72: ‘Extraño interludio’

Müller, Wolfgang G. ‘Der Bewusstseinsstrom  im Roman und auf der Bühne: James Joyces Ulysses und Eugene O’Neills Strange Interlude.’ Pp 115-29 in Manfred Siebald & Horst Immel, eds. Amerikanisierung des Dramas und Dramatisierung Amerikas: Studien su Ehren von Hans Helmcke. Frankfurt: Lang, 1985

-----. ‘O’Neill’s America: the strange interlude between the wars.’ Pp 135-47 in Manheim [S112] (139-46 on the play)

Murphy, Brenda . ‘O'Neill and the Lost Generation: O'Neill's Strange Interlude and Hemingway's A Farewell to Arms.’ Pp 81-94 in Bloom 3

Orlandello, John. O’Neill on film. Rutherford, NJ: Fairleigh Dickinson UP, 1982, 38-50: ‘Strange Interlude (1932)’

Pitavy, François. ‘Writing in Eugene O’Neill’s Strange Interlude, writing out Strange Interlude.’ Pp 269-78 in Udo J. Hebel & Karl Ortseifen, eds. Transatlantic encounters: studies in European-American relations presented to Winfried Herget. Trier: Wissenschaftlicher Verlag, 1995 [S114]

Raghavacharyulu, Dhupaty V. K. Eugene O’Neill: a study. Bombay: Popular Prakashan, 1965, 94-100

Raleigh, John H. The plays of Eugene O’Neill. Carbondale: Southern Illinois UP, 1965, 59-65; repr. on pp 81-86 in Griffin (see also index)

Robinson, James A. Eugene O’Neill and Oriental thought: a divided vision. Carbondale: Southern Illinois UP, 1982, 147-61: ‘Strange Interlude: mother God, father God, neuter God’

Robinson, Leroy. ‘John Howard Lawson’s “Souls”: a harbinger of Strange Interlude.’ Eugene O’Neill Newsletter 4 iii 1980 12-13 [S56]

Rosefeldt, Paul. ‘From Strange Interlude to [Steve Metcalfe’s] Strange Snow: a study of the absent character in drama.’ Journal of Evolutionary Psychology 23 ii-iii 2002 117-30 (part on the play and also Miller’s All My Sons)

Schiavi, Michael R. ‘Eugene O’Neill’s “new men” and theatrical possibility: Strange Interlude and Ah, Wilderness!.’ Journal of American Drama and Theatre 12 i 2000 53-73

Shafer, Yvonne. Performing O’Neill: conversations with actors and directors. NY: St. Martin’s Pr., 2001, 35-39, 234-42

Sheaffer, Louis. O’Neill, son  and artist. Boston: Little, Brown, 1973, 238-52 and see index

Sievers, W. David. Freud on Broadway: a history of psychoanalysis and the American  drama. NY: Hermitage House, 1955, 97-133: ‘Freud, Jung, and O’Neill’ (115-19 on the play)

Singh, Tejpal. Eugene O’Neill: quest for reality in his plays. New Delhi: National Book, 1987, 90-99

Smith, Madeline C. ‘Everything’s up to date in Kansas City.’ Eugene O’Neill Review 16 i 1992 71-84 [S62] (fears of protest before staging the play in the city)

-----. ‘O’Neill’s “suitable” comments on Strange Interlude.’ West Virginia University Philological Papers 38 1992 124-33 [S62]

Szondi, Peter. Theory of the modern drama: a critical edition. Ed. Michael Hays. Minneapolis: Univ. of Minnesota Pr., 1987, 81-83: ‘Monologue intérieur  O’Neill’ [S126]

Tiusanen, Timo. O’Neill’s scenic images. Princeton, NJ: Princeton UP, 1968, 212-24

Törnqvist, Egil. A drama of souls: studies in O’Neill’s super-naturalistic technique. New Haven, CT: Yale UP, 1969, 206-15 and see index

Tuck, Susan. ‘O’Neill and Frank Wedekind.’ Eugene O’Neill Newsletter 6 i 1982 29-35; 6 ii 1982 17-21 [S65] (latter part compares the play with Erdgeist)

Wainscott, Ronald H. Staging O’Neill: the experimental years, 1920-1934. New Haven, CT: Yale UP, 1988, 228-43

Winchester, Otis W. ‘History in literature: Eugene O’Neill’s Strange Interlude as a transcript of America in the 1920’s.’ Pp 43-58 in I. E. Cadenhead, ed. Literature and history. Tulsa: Univ. of Tulsa, 1970; repr. on pp 67-80 in Griffin

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