"Death Of A Salesman" is a 1949 play written by American playwright Arthur Miller. It was the recipient of the 1949 Pulitzer Prize for Drama and Tony Award for Best Play. The play is mostly told from the point of view of the protagonist, Willy, and the previous parts of Willy's life are revealed in the analepsis, sometimes during a present day scene. It does this by having a scene begin in the present time, and adding characters onto the stage whom only Willy can see and hear, representing characters and conversations from other times and places. Einstein Books' edition of "Death Of A Salesman" contains supplementary texts: "Tragedy And The Common Man", an essay by Arthur Miller. An excerpt from "The Man Who Had All The Luck", an early play by Arthur Miller. A few selected quotes of Arthur Miller.
Arthur Miller's 1949 Death of a Salesman
has sold 11 million copies, and Willy Loman didn't make all those sales on a smile and a shoeshine. This play is the genuine article--it's got the goods on the human condition, all packed into a day in the life of one self-deluded, self-promoting, self-defeating soul. It's a sturdy bridge between kitchen-sink realism and spectral abstraction, the facts of particular hard times and universal themes. As Christopher Bigsby's mildly interesting afterword in this 50th-anniversary edition points out (as does Miller in his memoir, Timebends
), Willy is closely based on the playwright's sad, absurd salesman uncle, Manny. But of course Miller made Manny into Everyman, and gave him the name of the crime commissioner Lohmann in Fritz Lang's angst-ridden 1932 Nazi parable, The Testament of Dr. Mabuse
The tragedy of Loman the all-American dreamer and loser works eternally, on the page as on the stage. A lot of plays made history around 1949, but none have stepped out of history into the classic canon as Salesman has. Great as it was, Tennessee Williams's work can't be revived as vividly as this play still is, all over the world. (This edition has edifying pictures of Lee J. Cobb's 1949 and Brian Dennehy's 1999 performances.) It connects Aristotle, The Great Gatsby, On the Waterfront, David Mamet, and the archetypal American movie antihero. It even transcends its author's tragic flaw of pious preachiness (which undoes his snoozy The Crucible, unfortunately his most-produced play).
No doubt you've seen Willy Loman's story at least once. It's still worth reading. --Tim Appelo