O'Neill Play by Play: A Touch of the Poet

A Touch of the Poet

(See also “A Tale of Possessors Self-Dispossessed”)

Adler, Thomas P. ‘The mirror as stage prop in modern drama.’ Comparative Drama 14 1980 355-73 [S5]

Ahrends, Günter. Traumwelt und Wirklichkeit im Spätwerk Eugene O’Neills. Heidelberg: Winter, 1978, 175-219

Berlin, Normand. O’Neill’s Shakespeare. Ann Arbor: Univ. of Michigan Pr., 1993, 143-52

-----. ‘Traffic of our stage: A Touch of the Poet.’ Massachusetts Review 47 2006 714-23

Bermel, Albert. ‘A crutch of the poet.’ Eugene O’Neill Newsletter 11 i 1987 10-14 [S9]

Bloom, Steven F. ‘Alcoholism and intoxication in A Touch of the Poet.’ Dionysos: The Literature and Intoxication Triquarterly 2 iii 1991 31-39 [S11]

Bogard, Travis. Contour in time: the plays of Eugene O’Neill. Rev. ed. NY: Oxford UP, 1988, 394-99

Bower, Martha G. Eugene O’Neill’s unfinished threnody and process of invention in four cycle plays. NY: Edwin Mellen Pr., 1992, 9-42

-----. ‘Upstairs / downstairs: dueling triangles in A Touch of the Poet.’ Eugene O’Neill Review 20 1996 97-101 [S12]

Bowling, Charis C. ‘The touch of poetry: a study of the role of poetry in three O’Neill plays.’ CLA Journal 12 1968 43-55 [M164]

Cardullo, Bert. ‘The function of Simon Harford in A Touch of the Poet.’ Eugene O’Neill Newsletter 8 i 1984 27-28 [S13]

Chothia, Jean. ‘O’Neill in London—A Touch of the Poet.’ Recorder 3 i 1989 67-72 [S15]

Clurman, Harold. On directing. NY: Macmillan, 1972, 221-28: ‘Director’s notes for A Touch of the Poet’

Dubost, Thierry. ‘Masques et miroirs dans A Touch of the Poet de Eugène O’Neill.’ Pp 151-62 in Josette Leray, ed. Masques et miroirs dans le monde anglo-saxon. Caen: Presse Universitaire de Caen, 1996

Egri, Péter. The birth of American tragedy. Budapest: Tankönyvkiadó, 1988, 115-22: ‘Alienation and dramatic form: the novel, the lyric and the short story in the drama, 4: . . . A Touch of the Poet’

-----. Chekhov and O’Neill: the uses of the short story in Chekhov’s and O’Neill’s plays. Budapest: Akadémiai, 1986, 57-67 (from ‘A touch of the story-teller: the dramatic function of the short story model in Chekhov’s Uncle Vanya and O’Neill’s A Touch of the Poet.’ Angol Filológiai Tanulmányok / Hungarian Studies in English 13 1980 93-115 [S20])

Eisen, Kurt. The inner strength of opposites: O’Neill’s novelistic drama and the melodramatic imagination. Athens: Univ. of Georgia Pr., 1994, 73-79

Falk, Doris V. Eugene O’Neill and the tragic tension: an interpretive study of the plays. NY: Gordian Pr., 1958, 165-70

Fiet, Lowell A. ‘O’Neill’s modification of traditional American themes in A Touch of the Poet.’ Educational Theatre Journal 27 1975 508-15 [S23]

Filipowicz-Findlay, Halina. Eugene O’Neill. Warsaw: Wiedza Powszechna, 1975, 232-43

Floyd, Virginia. The plays of Eugene O’Neill: a new assessment. NY: Ungar, 1985, 440-56

Fludernik, Monika. ‘Byron, Napoleon, and the thorough-bred mares: symbolism and semiosis in Eugene O’Neill’s A Touch of the Poet.’ Sprachkunst 21 1990 335-52 [S25]

-----. ‘The illusion of truth in Eugene O’Neill’s A Touch of the Poet: dynamics and reversals.’ Amerikastudien 36 1991 317-35 [S25]

-----. ‘Truth as signifier and signified in A Touch of the Poet: a deconstructionist reading.’ Pp 241-60 in Marta Gibińska & Zygmunt Mazur, eds. New trends in English and American studies: proceedings of the fifth international conference, Cracow 1990, April 2-7. Cracow: Towarzystwo Autorów i Wydawnców Prace Naukowych ‘Uniwersitas,’ 1992

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, this play [142-45], and The Iceman Cometh)

Fuchs, Elinor. ‘O’Neill’s Poet: touched by Ibsen.’ Educational Theatre Journal 30 1978 513-16 [S26] (links to The Wild Duck)

Gallup, Donald. Eugene O’Neill and his eleven-play cycle: “A Tale of Possessors Self-Dispossessed”. New Haven, CT: Yale UP, 1998, 40-61 and see index

Gelb, Arthur, & Barbara Gelb. ‘Behind the scenes of O’Neill’s elephant opus.’ Eugene O’Neill Review 28 2006 101-12 (stresses the play)

Goyal, Bhagwat S. The strategy of survival: human significance of O’Neill’s plays. Ghaziabad: Vimal, 1975, 145-55

Gross, Siegfried. ‘As if—Konjunktion zwischen Schein und Wirklichkeit in den späten Dramen Eugene O’Neills.’ Poetica 2 1968 521-40 (528-38 on the play)

Herron, Ima H. The small town in American drama. Dallas, TX: Southern Methodist UP, 1968, 272-337: ‘O’Neill’s lost townsmen’ (322-28 on the play)

Holtan, Orley I. ‘Eugene O’Neill and the death of the “convenant.”’ Quarterly Journal of Speech 56 1970 256-63 [M188]

Hornby, Richard. ‘Inner conflict.’ Hudson Review 59 i 2006 107-14

Jenckes, Norma. ‘O’Neill’s use of Irish-Yankee stereotypes in A Touch of the Poet.’ Eugene O’Neill Newsletter 9 ii 1985 34-39 [S35]

Jones, Betty J. ‘Directing the plays of Eugene O’Neill—style, substance, and synthesis.’ Pp 223-29 in Liu [S101]

Josephson, Lennart H. A role: O’Neill’s Cornelius Melody. Stockholm: Almqvist & Wiksell, 1977. 166 pp [S101]

Köhler, Klaus. Eugene O’Neill’s antiheroes and their major precursors from late nineteenth to early twentieth century European drama. Dresden: Progressmedia, 2003, 88-92

Lee, E. Andrew. ‘The image of Irish in the life and work of Eugene O’Neill.’ Eugene O’Neill Review 35 2014 137-60 (152-55 on the play)

Lewis, Ward B. Eugene O’Neill: the German reception of America’s first dramatist. NY: Lang, 1984, 121-30

Manheim, Michael. Eugene O’Neill’s new language of kinship. Syracuse, NY: Syracuse UP, 1982, 106-15

-----. ‘O’Neill’s transcendence of melodrama in A Touch of the Poet and A Moon for the Misbegotten.’ Comparative Drama 16 1982 238-50 [S41]; repr. on pp 147-59 in Stroupe

Marcus, Mordecai. ‘Eugene O’Neill’s debt to Thoreau in Touch of the Poet.’ Journal of English and Germanic Philology 62 1963 270-79 [M465]

Marcuson, Lewis R. The stage immigrant: the Irish, Italians, and Jews in American drama, 1920-1960. NY: Garland, 1990, 244-52 ‘A Touch of the Poet’

Mason, Jeffrey D. ‘The metatheatre of O’Neill: actor as metaphor in A Touch of the Poet.’ Theatre Annual 43 1988 53-66 [S42]

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, 202-28: ‘A Touch of the Poet [1977-78]’; ‘Quintero directs Robards in A Touch of the Poet.’ Pp 81-92 in Stephen A. Black et al., eds., for the Eugene O’Neill Society. Jason Robards remembered: essays and recollections. Jefferson, NC: McFarland, 2002

Meade, Robert. ‘Incest fantasy and the hero in A Touch of the Poet.’ Eugene O’Neill Review 18 1994 79-94 [S44]

Miliora, Maria T. Narcissism, the family, and madness: a self-psychological study of Eugene O’Neill and his plays. NY: Lang, 2000, 122-29 (from ‘Narcissistic fantasies in A Touch of the Poet: a self-psychological study.’ Eugene O’Neill Review 18 1994 95-107 [S45])

Miller, Ronald R. ‘From scenario to script: O’Neill’s use of history in A Touch of the Poet and More Stately Mansions.’ Pp 65-71 in Karelisa V. Hartigan, ed. Text and presentation: the University of Florida Department of Classics Comparative Drama Conference papers, volume IX. Lanham, MD: UP of America, 1990 [S110]

Nugel, Bernfried. ‘Dichtungskritik in O’Neills A Touch of the Poet.’ Pp 139-57 in Halfmann

Pallette, Drew B. ‘O’Neill’s A Touch of the Poet and other last plays.’ Arizona Quarterly 13 1957 308-19 [M202]

Porter, Laurin R. ‘Bakhtin’s chronotope: time and space in A Touch of the Poet and More Stately Mansions.’ Modern Drama 34 1991 369-82 [S51]

-----. The banished prince: time, memory, and ritual in the late plays of Eugene O’Neill. Ann Arbor, MI: UMI Research Pr., 1988, 13-25: ‘A Touch of the Poet: memory and the creative imagination’; repr. on pp 238-50 in Houchin

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)

Riegl, Kurt. ‘Zum Thoreau-Echo im Spätwerk O’Neills.’ Germanisch-Romanische Monatsschrift 18 1968 191-99

Robinson, James A. ‘Convergences and divergences: father and son in A Touch of the Poet and The Iceman Cometh.’ American Literature 59 1987 323-40 [S55]

Scheibler, Rolf. The late plays of Eugene O’Neill. Bern: Francke, 1970, 12-56

Schenker, Ueli. Eugene O’Neills Spätwerk. Zurich: Juris, 1965, 116-31

Seidel, Margot. Bibel und Christentum im dramatischen Werk Eugene O’Neills. Frankfurt: Lang, 1984, 52-58, 74-79 and see index

Shafer, Yvonne. Performing O’Neill: conversations with actors and directors. NY: St. Martin’s Pr., 2001, 88-92, 135-39, 187-90

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, 162-70

Singh, Tejpal. Eugene O’Neill: quest for reality in his plays. New Delhi: National Book, 1987, 127-36

Smith, Madeline C., & Richard Eaton. ‘Con-fusion: Con Melody’s identity crisis.’ South Carolina Review 32 1999 228-32 [S62]

Tiusanen, Timo. O’Neill’s scenic images. Princeton, NJ: Princeton UP, 1968, 321-30

Törnqvist, Egil. A drama of souls: studies in O’Neill’s super-naturalistic technique. New Haven, CT: Yale UP, 1969, 67-69 and see index

-----. Eugene O’Neill: a playwright’s theatre. Jefferson, NC: McFarland, 2003, 197-219

Westgate, J. Chris. ‘Frustrated & frustrating lives: women in O’Neill’s A Touch of the Poet.’ American Drama 16 i 2007 1-18

Winther, Sophus K. ‘Eugene O’Neill: the dreamer confronts his dream.’ Arizona Quarterly 21 1965 221-33 [M217] (in the play and More Stately Mansions)

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