Lillian Hellman: An Imperious Life by Dorothy Gallagher
By Dorothy Gallagher
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As public tastes switch, so does the character of well known drama. within the 5th century BCE, Aristophanes' "Lysistrata" attracted censors for its topics of wifely uprising and intercourse. From the fifteenth to the 18th centuries, performs have been censored basically for spiritual or political purposes. within the nineteenth century, social and sexual purposes for censorship emerged, and glossy moralists have objected to works by means of such playwrights as Arthur Miller, Eugene O'Neill, and Lillian Hellman.
Winner of 4 Pulitzer Prizes and the 1st American dramatist to obtain a Nobel Prize, Eugene O'Neill stuffed his performs with wealthy characterization and leading edge language, taking the outcasts and renegades of society and depicting their Olympian struggles with themselves-and with future.
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Additional info for Lillian Hellman: An Imperious Life
A striking example is Hellman’s anti-Fascist play Watch on the Rhine. First staged in 1941, her hero, Kurt Muller (most probably based on her friend, the Comintern agent Otto Katz, 34 two j ew i s h gi rls who was, in fact, Jewish, and on whom more later), is an Aryan German, and an exemplary anti-Fascist. Muller, we are told, fought for the Spanish Republic in the 1930s; in 1940, when the action of Watch is set, Muller is a leader of the anti-Nazi underground. We ﬁnd him in Washington with his family, resting from the ordeals of being a hunted man in Europe.
16 As he demonstrated during the rest of his life, Hammett was not a marrying man. But he was in love with Jose, and when she became pregnant they married on July 7, 1921. Their daughter, Mary Jane, was born on October 16, 1921. Five years later a second daughter, Josephine, was born. With little formal education Hammett read unsystematically, but widely. Literature, science, and philosophy. And, almost suddenly it seemed, he began to write. From 1922 through 1934, he published an astonishing body of work—eighty short stories and ﬁve novels.
It is a little difﬁcult to picture Lillian Hellman and Gertrude Stein in the same room at the same time. Something like trying to hold two opposing thoughts. These women do not belong together. Surely, they must be of different eras and different worlds. But, in fact, they were both American girls, Jewish girls, only a generation apart, and they both knew something of life in the South. Hellman was thirty in 1935, short and slender, with a large bosom, good legs that she played up, and always elegantly dressed and coiffed.