Death Of A Salesman by Arthur Miller

Death Of A Salesman

byArthur Miller

Paperback | October 28, 1976

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The Pulitzer Prize-winning tragedy of a salesman’s deferred American dream
 
Ever since it was first performed in 1949, Death of a Salesman has been recognized as a milestone of the American theater. In the person of Willy Loman, the aging, failing salesman who makes his living riding on a smile and a shoeshine, Arthur Miller redefined the tragic hero as a man whose dreams are at once insupportably vast and dangerously insubstantial. He has given us a figure whose name has become a symbol for a kind of majestic grandiosity—and a play that compresses epic extremes of humor and anguish, promise and loss, between the four walls of an American living room.

"By common consent, this is one of the finest dramas in the whole range of the American theater." —Brooks Atkinson, The New York Times

"So simple, central, and terrible that the run of playwrights would neither care nor dare to attempt it." —Time

About The Author

Arthur Miller was born in New York City in 1915 and studied at the University of Michigan. His plays include All My Sons (1947), Death of a Salesman (1949), The Crucible (1953), A View from the Bridge and A Memory of Two Mondays (1955), After the Fall (1963), Incident at Vichy (1964), The Price (1968), The Creation of the World and Oth...
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Details & Specs

Title:Death Of A SalesmanFormat:PaperbackDimensions:144 pages, 7.72 × 5.01 × 0.26 inPublished:October 28, 1976Publisher:Penguin Publishing GroupLanguage:English

The following ISBNs are associated with this title:

ISBN - 10:0140481346

ISBN - 13:9780140481341

Appropriate for ages: 18 - 18

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From Our Editors

Arthur Miller's Pulitzer Prize-winning drama was first performed in 1949, at a time when a post-war economic boom elated the spirits of Americans all over. As if to spike the punch, Death of a Salesman told of the problems underlining the "dream" by constructing Willy Loman, the most tragic of heroes. A failing, aging salesman, Willy makes his living on a smile and some shoeshine in an unabashed pursuit of dreams that are at once insupportably vast and essentially insubstantial. The play runs between extremes of humour and anguish, promise and loss, all within the confines of the American ideal to show how what is supposed to be open is actually broken.

Editorial Reviews

"By common consent, this is one of the finest dramas in the whole range of the American theater." —Brooks Atkinson, The New York Times

"So simple, central, and terrible that the run of playwrights would neither care nor dare to attempt it." —Time