THE DEATH OF EVERYMAN

PLAY/BOOK REVIEW

THE DEATH OF A SALESMAN, ARTHUR MILLER

Arthur Miller had a good ear for the foibles and traumas of the ordinary people of the old middle class put up against the wall in a world that was dramatically changing after World War II. The time of the man in the gray flannel suit and the victory of corporate culture that destroyed the old independent professions was not the main character of the piece Willie Loman’s time. In this play, seemingly only about the trials and tribulations of Everyman Willie Loman a used up salesman at the end of his career, the underlying tension is that he cannot keep up with those changes required by modern capitalist technique and therefore has to be discarded. In a recent review of the book The Disposable American, that is essentially a study of today’s used up Willie Lomans, I noted that the author had caught the desperation of that layer of working people that had gotten waylaid by globalization. Seemingly Willie is their voice-the voice of shame, individual impotency and sense of lost and betrayal but also a certain pridefulness. Unfortunately, Willie Loman and today's Willies are disturbingly clueless about the forces that have done them in.

This occupational demise naturally has a fallout effect on Willie’s personal life as well. He does not understand what has happened to destroy the integrity of his dysfunctional nuclear family. The old standards that had guided him do not stand up in the new suburban-dominated world where he must try to survive. Obviously there is some dramatic tension between him and his sons who have in their own way nothing but contempt for the old man, his old ways, his illusions and his duplicity. But also, as is always the case with rebellious children, love, at least their conception of it, as well. That this love is not good enough to save Willie in the end is one of the lessons to be learned from the play. That is where the need for political solutions begin. But enough. Read the play and see the Lee J. Cobb version of the movie. Cobb IS Willie Loman.

IN THE SEASON OF THE WITCH

PLAY/BOOK REVIEW

THE CRUCIBLE, ARTHUR MILLER

This play, based on the infamous Salem witch trials of the 1690’s that New England still has not lived down, was written by Arthur Miller in an earlier period in American history, the 1950’s, when hysteria over the alleged internal “Communist menace” dovetailed with the opening of the coldest part of the Cold War against the Soviet Union. The dramatic tension of the play cannot be understood except as a parable on that then current atmosphere. Miller draws parallels with the earlier period of hysteria, in this case the irrational hysteria over witches in the isolated, inward-looking Puritan community of Salem, Massachusetts. The comparisons in reaction to the witches and ‘reds under the bed’ are startling as far as the response of the societies and individuals in those communities were concerned.

Obviously in the play one needs a hero, even if it is the flawed and ‘fallen’ John Proctor who will stand up, in the final analysis, even unto death for his principles. We will always find a few, even if reluctant, fighters to stand against the herd. In fact we depend on that occurrence. What is more compelling, and frightening, is the reaction of the ‘honest’ town folk. Then, as in the case of the Cold War hysteria, those ‘good’ folk turned the other way, joined actively in on the action or in some way justified the trials. As we are again in a period when the new hysteria is over Islamic fundamentalists and their motives this play remains an extremely powerful cautionary tale. Read the play and/or watch a movie version of it.