By Leo Schneiderman
Stories of 9 awesome smooth writers: William Faulkner, Lillian Hellman, Vladimir Nabokov, Flannery O'Connor, Tennessee Williams, John Cheever, Jose Luis Borges, Samuel Beckett and Harold Pinter. The booklet goals to teach that affliction can play a important position in growing nice literature.
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Additional info for The Literary Mind: Portraits in Pain and Creativity
Sample text
After all, the play ends with the suicide of its female protagonist-one of the accused young women-and Hellman refers to The Children's Hour as a protest against the injustice of denunciation and innuendo. Hellman undoubtedly succeeds in making her point, but she says something in addition-that the exercise of power is fascinating, and that the wielder of power is more impressive than ordinary people. , dilection has led her to express two conflicting needs. The result is that she communicates her unconscious admiration for Mary at the same time that she condemns her.
Despite Hellman's growing insights, which contributed to the psychological complexity of her later plays, there is a remarkable consistency about her fictional characters, mirroring the rigidity of her defenses. Starting with the character of Mary in The Children's Hour ( 1 934), Hellman's stage creations reflect her unconscious conflicts. The Children's Hour is about two young female instructors at a girls' school who are accused by Mary, one of their students, of involvement in a lesbian relationship.
An obvious explanation for this shift would be to say that in the interval between the composition of the two plays- 1 936 to 1 94 1 -Hellman had been to Spain and had seen the Spanish Civil War in process. Like everyone else, she had watched the fall of France and the other events associated with the outbreak of the Second World War. A commonsense interpretation of Hillman's shift in char acterization would emphasize, in other words, the influence of external events or the atmosphere of crisis in which the world found itself.