Collected Essays Page 7

  But before I leave this play it seems wise to say a few more words about the kind of dramatic impulse it represents, and one aspect of “Ibsenism” as a technique is the quickest path into that discussion. I have no vested interest in any one form—as the variety of forms I have used attests—but there is one element in Ibsen’s method which I do not think ought to be overlooked, let alone dismissed as it so often is nowadays. If his plays, and his method, do nothing else they reveal the evolutionary quality of life. One is constantly aware, in watching his plays, of process, change, development. I think too many modern plays assume, so to speak, that their duty is merely to show the present countenance rather than to account for what happens. It is therefore wrong to imagine that because his first and sometimes his second acts devote so much time to a studied revelation of antecedent material, his view is static compared to our own. In truth, it is profoundly dynamic, for that enormous past was always heavily documented to the end that the present be comprehended with wholeness, as a moment in a flow of time, and not—as with so many modern plays—as a situation without roots. Indeed, even though I can myself reject other aspects of his work, it nevertheless presents barely and unadorned what I believe is the biggest single dramatic problem, namely, how to dramatize what has gone before. I say this not merely out of technical interest, but because dramatic characters, and the drama itself, can never hope to attain a maximum degree of consciousness unless they contain a viable unveiling of the contrast between past and present, and an awareness of the process by which the present has become what it is. And I say this, finally, because I take it as a truth that the end of drama is the creation of a higher consciousness and not merely a subjective attack upon the audience’s nerves and feelings. What is precious in the Ibsen method is its insistence upon valid causation, and this cannot be dismissed as a wooden notion.

  This is the “real” in Ibsen’s realism for me, for he was, after all, as much a mystic as a realist. Which is simply to say that while there are mysteries in life which no amount of analyzing will reduce to reason, it is perfectly realistic to admit and even to proclaim that hiatus as a truth. But the problem is not to make complex what is essentially explainable; it is to make understandable what is complex without distorting and oversimplifying what cannot be explained. I think many of his devices are, in fact, quite arbitrary; that he betrays a Germanic ponderousness at times and a tendency to over-prove what is quite clear in the first place. But we could do with more of his basic intention, which was to assert nothing he had not proved, and to cling always to the marvelous spectacle of life forcing one event out of the jaws of the preceding one and to reveal its elemental consistencies with surprise. In other words, I contrast his realism not with the lyrical, which I prize, but with sentimentality, which is always a leak in the dramatic dike. He sought to make a play as weighty and living a fact as the discovery of the steam engine or algebra. This can be scoffed away only at a price, and the price is a living drama.

  IV

  I think now that the straightforwardness of the All My Sons form was in some part due to the relatively sharp definition of the social aspects of the problem it dealt with. It was conceived in wartime and begun in wartime; the spectacle of human sacrifice in contrast with aggrandizement is a sharp and heartbreaking one. At a time when all public voices were announcing the arrival of that great day when industry and labor were one, my personal experience was daily demonstrating that beneath the slogans very little had changed. In this sense the play was a response to what I felt “in the air.” It was an unveiling of what I believed everybody knew and nobody publicly said. At the same time, however, I believed I was bringing news, and it was news which I half expected would be denied as truth.

  When, in effect, it was accepted, I was gratified, but a little surprised. The success of a play, especially one’s first success, is somewhat like pushing against a door which is suddenly opened from the other side. One may fall on one’s face or not, but certainly a new room is opened that was always securely shut until then. For myself, the experience was invigorating. It suddenly seemed that the audience was a mass of blood relations, and I sensed a warmth in the world that had not been there before. It made it possible to dream of daring more and risking more. The Wonderful was no longer something that would inevitably trap me into disastrously confusing works, for the audience sat in silence before the unwinding of All My Sons and gasped when they should have, and I tasted that power which is reserved, I imagine, for playwrights, which is to know that by one’s invention a mass of strangers has been publicly transfixed.

  As well, the production of the play was an introduction to the acting art and its awesome potentials. I wanted to use more of what lay in actors to be used. To me, the most incredible spectacle of this first successful production was the silence it enforced. It seemed then that the stage was as wide and free and towering and laughingly inventive as the human mind itself, and I wanted to press closer toward its distant edges. A success places one among friends. The world is friendly, the audience is friendly, and that is good. It also reveals, even more starkly than a failure—for a failure is always ill-defined—what remains undone.

  The wonder in All My Sons lay in its revelation of process, and it was made a stitch at a time, so to speak, in order to weave a tapestry before our eyes. What it wanted, however, was a kind of moment-to-moment wildness in addition to its organic wholeness. The form of the play, I felt, was not sensuous enough in itself. Which means that its conception of time came to appear at odds with my own experience.

  The first image that occurred to me, which was to result in Death of a Salesman, was of an enormous face the height of the proscenium arch which would appear and then open up, and we would see the inside of a man’s head. In fact, The Inside of His Head was the first title. It was conceived half in laughter, for the inside of his head was a mass of contradictions. The image was in direct opposition to the method of All My Sons—a method one might call linear or eventual in that one fact or incident creates the necessity for the next. The Salesman image was from the beginning absorbed with the concept that nothing in life comes “next” but that everything exists together and at the same time within us; that there is no past to be “brought forward” in a human being, but that he is his past at every moment and that the present is merely that which his past is capable of noticing and smelling and reacting to.

  I wished to create a form which, in itself as a form, would literally be the process of Willy Loman’s way of mind. But to say “wished” is not accurate. Any dramatic form is an artifice, a way of transforming a subjective feeling into something that can be comprehended through public symbols. Its efficiency as a form is to be judged—at least by the writer—by how much of the original vision and feeling is lost or distorted by this transformation. I wished to speak of the salesman most precisely as I felt about him, to give no part of that feeling away for the sake of any effect or any dramatic necessity. What was wanted now was not a mounting line of tension, nor a gradually narrowing cone of intensifying suspense, but a bloc, a single chord presented as such at the outset, within which all the strains and melodies would already be contained. The strategy, as with All My Sons, was to appear entirely unstrategic but with a difference. This time, if I could, I would have told the whole story and set forth all the characters in one unbroken speech or even one sentence or a single flash of light. As I look at the play now its form seems the form of a confession, for that is how it is told, now speaking of what happened yesterday, then suddenly following some connection to a time twenty years ago, then leaping even further back and then returning to the present and even speculating about the future.

  Where in All My Sons it had seemed necessary to prove the connections between the present and the past, between events and moral consequences, between the manifest and the hidden, in this play all was assumed as proven to begin with. All I was doing was bringing things to mind. The assumption, also, was that ever
yone knew Willy Loman. I can realize this only now, it is true, but it is equally apparent to me that I took it somehow for granted then. There was still the attitude of the unveiler, but no bringing together of hitherto unrelated things; only pre-existing images, events, confrontations, moods, and pieces of knowledge. So there was a kind of confidence underlying this play which the form itself expresses, even a naïveté, a self-disarming quality that was in part born of my belief in the audience as being essentially the same as myself. If I had wanted, then, to put the audience reaction into words, it would not have been “What happens next and why?” so much as “Oh, God, of course!”

  In one sense a play is a species of jurisprudence, and some part of it must take the advocate’s role, something else must act in defense, and the entirety must engage the Law. Against my will, All My Sons states, and even proclaims, that it is a form and that a writer wrote it and organized it. In Death of a Salesman the original impulse was to make that same proclamation in an immeasurably more violent, abrupt, and openly conscious way. Willy Loman does not merely suggest or hint that he is at the end of his strength and of his justifications, he is hardly on the stage for five minutes when he says so; he does not gradually imply a deadly conflict with his son, an implication dropped into the midst of serenity and surface calm, he is avowedly grappling with that conflict at the outset. The ultimate matter with which the play will close is announced at the outset and is the matter of its every moment from the first. There is enough revealed in the first scene of Death of a Salesman to fill another kind of play which, in service to another dramatic form, would hold back and only gradually release it. I wanted to proclaim that an artist had made this play, but the nature of the proclamation was to be entirely “inartistic” and avowedly unstrategic; it was to hold back nothing, at any moment, which life would have revealed, even at the cost of suspense and climax. It was to forgo the usual preparations for scenes and to permit—and even seek—whatever in each character contradicted his position in the advocate-defense scheme of its jurisprudence. The play was begun with only one firm piece of knowledge and this was that Loman was to destroy himself. How it would wander before it got to that point I did not know and resolved not to care. I was convinced only that if I could make him remember enough he would kill himself, and the structure of the play was determined by what was needed to draw up his memories like a mass of tangled roots without end or beginning.

  As I have said, the structure of events and the nature of its form are also the direct reflection of Willy Loman’s way of thinking at this moment of his life. He was the kind of man you see muttering to himself on a subway, decently dressed, on his way home or to the office, perfectly integrated with his surroundings excepting that unlike other people he can no longer restrain the power of his experience from disrupting the superficial sociality of his behavior. Consequently he is working on two logics which often collide. For instance, if he meets his son Happy while in the midst of some memory in which Happy disappointed him, he is instantly furious at Happy, despite the fact that Happy at this particular moment deeply desires to be of use to him. He is literally at that terrible moment when the voice of the past is no longer distant but quite as loud as the voice of the present. In dramatic terms the form, therefore, is this process, instead of being a once-removed summation or indication of it.

  The way of telling the tale, in this sense, is as mad as Willy and as abrupt and as suddenly lyrical. And it is difficult not to add that the subsequent imitations of the form had to collapse for this particular reason. It is not possible, in my opinion, to graft it onto a character whose psychology it does not reflect, and I have not used it since because it would be false to a more integrated—or less disintegrating—personality to pretend that the past and the present are so openly and vocally intertwined in his mind. The ability of people to down their past is normal, and without it we could have no comprehensible communication among men. In the hands of writers who see it as an easy way to elicit anterior information in a play it becomes merely a flashback. There are no flashbacks in this play but only a mobile concurrency of past and present, and this, again, because in his desperation to justify his life Willy Loman has destroyed the boundaries between now and then, just as anyone would do who, on picking up his telephone, discovered that this perfectly harmless act had somehow set off an explosion in his basement. The previously assumed and believed-in results of ordinary and accepted actions, and their abrupt and unforeseen—but apparently logical—effects, form the basic collision in this play, and, I suppose, its ultimate irony.

  It may be in place to remark, in this connection, that while the play was sometimes called cinematographic in its structure, it failed as a motion picture. I believe that the basic reason—aside from the gross insensitivity permeating its film production—was that the dramatic tension of Willy’s memories was destroyed by transferring him, literally, to the locales he had only imagined in the play. There is an inevitable horror in the spectacle of a man losing consciousness of his immediate surroundings to the point where he engages in conversations with unseen persons. The horror is lost—and drama becomes narrative—when the context actually becomes his imagined world. And the dream evaporates because psychological truth has been amended, a truth which depends not only on what images we recall but in what connections and contexts we recall them. The setting on the stage was never shifted, despite the many changes in locale, for the precise reason that, quite simply, the mere fact that a man forgets where he is does not mean that he has really moved. Indeed, his terror springs from his never-lost awareness of time and place. It did not need this play to teach me that the screen is time-bound and earth-bound compared to the stage, if only because its preponderant emphasis is on the visual image, which, however rapidly it may be changed before our eyes, still displaces its predecessor, while scene-changing with words is instantaneous; and because of the flexibility of language, especially of English, a preceding image can be kept alive through the image that succeeds it. The movie’s tendency is always to wipe out what has gone before, and it is thus in constant danger of transforming the dramatic into narrative. There is no swifter method of telling a “story” but neither is there a more difficult medium in which to keep a pattern of relationships constantly in being. Even in those sequences which retained the real backgrounds for Willy’s imaginary confrontations the tension between now and then was lost. I suspect this loss was due to the necessity of shooting the actors close-up—effectively eliminating awareness of their surroundings. The basic failure of the picture was a formal one. It did not solve, nor really attempt to find, a resolution for the problem of keeping the past constantly alive, and that friction, collision, and tension between past and present was the heart of the play’s particular construction.

  A great deal has been said and written about what Death of a Salesman is supposed to signify, both psychologically and from the socio-political viewpoints. For instance, in one periodical of the far Right it was called a “time bomb expertly placed under the edifice of Americanism,” while the Daily Worker reviewer thought it entirely decadent. In Catholic Spain it ran longer than any modern play and it has been refused production in Russia but not, from time to time, in certain satellite countries, depending on the direction and velocity of the wind. The Spanish press, thoroughly controlled by Catholic orthodoxy, regarded the play as commendable proof of the spirit’s death where there is no God. In America, even as it was being cannonaded as a piece of Communist propaganda, two of the largest manufacturing corporations in the country invited me to address their sales organizations in conventions assembled, while the road company was here and there picketed by the Catholic War Veterans and the American Legion. It made only a fair impression in London, but in the area of the Norwegian Arctic Circle fishermen whose only contact with civilization was the radio and the occasional visit of the government boat insisted on seeing it night after night—the same few people—believing it to be some kind of religious
rite. One organization of salesmen raised me up nearly to patronsainthood, and another, a national sales managers’ group, complained that the difficulty of recruiting salesmen was directly traceable to the play. When the movie was made, the producing company got so frightened it produced a sort of trailer to be shown before the picture, a documentary short film which demonstrated how exceptional Willy Loman was; how necessary selling is to the economy; how secure the salesman’s life really is; how idiotic, in short, was the feature film they had just spent more than a million dollars to produce. Fright does odd things to people.

  On the psychological front the play spawned a small hill of doctoral theses explaining its Freudian symbolism, and there were innumerable letters asking if I was aware that the fountain pen which Biff steals is a phallic symbol. Some, on the other hand, felt it was merely a fountain pen and dismissed the whole play. I received visits from men over sixty from as far away as California who had come across the country to have me write the stories of their lives, because the story of Willy Loman was exactly like theirs. The letters from women made it clear that the central character of the play was Linda; sons saw the entire action revolving around Biff or Happy, and fathers wanted advice, in effect, on how to avoid parricide. Probably the most succinct reaction to the play was voiced by a man who, on leaving the theater, said, “I always said that New England territory was no damned good.” This, at least, was a fact.

  That I have and had not the slightest interest in the selling profession is probably unbelievable to most people, and I very early gave up trying even to say so. And when asked what Willy was selling, what was in his bags, I could only reply, “Himself.” I was trying neither to condemn a profession nor particularly to improve it, and, I will admit, I was little better than ignorant of Freud’s teachings when I wrote it. There was no attempt to bring down the American edifice nor to raise it higher, to show up family relations or to cure the ills afflicting that inevitable institution. The truth, at least of my aim—which is all I can speak of authoritatively—is much simpler and more complex.