Reviewing a masterpiece is an arduous task, and Long Day’s Journey Into Night is undoubtedly an American classic. Instead of attempting a comprehensive review, I will simply share a few thoughts and impressions that came to me upon completing it.

First and foremost, this play requires reading. Its stage directions are extensive, precisely detailed, lyrical, and brilliant. While the dialogue is intense and powerful, it is the transcendent stage directions that elevate this play to greatness. If you were to listen to an audiobook of Long Day’s Journey Into Night, you would miss more than half of its essence.

Of course, the play’s dialogue is also excruciatingly powerful. The four members of the Tyrone family, with whom we embark on this long day’s journey, are the walking wounded, flawed and hurting, each seeking a way to numb their pain. Although we can see that they have love and affection for one another, this only complicates rather than alleviates their conflicts. Each person’s pain is intertwined with the others’, and in turn, they lash out at one another, weaponizing the past and using it like sharp knives. I couldn’t help but think of William Faulkner’s famous quote, “The past is never dead. It’s not even past.” This could have been the tagline for this play, as the past becomes increasingly present as the day of the play drags on.

Another quote that came to mind when thinking about these Tyrones, less serious but just as fitting, is actor Jeff Goldblum’s line from The Big Chill, “Don’t knock rationalization, where would we be without it? I don’t know anyone who’d get through the day without two or three juicy rationalizations - they’re more important than sex.” For as the Tyrones use the past against each other, each one surrounds themselves with a shield of rationalization, ultimately in vain, attempting to protect themselves from the brutally painful realities of their existence.

Harold Bloom states in the introduction to my copy that Long Day’s Journey Into Night is “The best play in our more than two centuries as a nation.” While I’m not entirely sure I agree (August Wilson’s Fences comes to mind as a worthy contender for that honor), it undoubtedly ranks among the top two or three plays vying for that title. It captures something real and painful in the human experience, and does so with a terrifying beauty. If you can’t see a part of yourself in this play, you’re not truly looking.

It was a huge mistake that I was created to be a man who would achieve greater success if I were a nurse or a fish.

However, as it is, I will always be like the stranger who doesn't feel the warmth of home, can't belong, and who is always truly in love with death, even if only a little.

This feeling of alienation and disconnection haunts me constantly. I look around and see others fitting in, finding their place in the world, while I seem to be adrift.

I wonder if there was something wrong with the way I was made, or if it's just my fate to always be on the outside looking in.

Maybe if I had been a different creature, like a nurse with the ability to care and heal, or a fish swimming freely in the water, my life would have been different.

But as it stands, I am stuck in this limbo, neither here nor there, always longing for something more but never quite able to reach it.

I had promised myself to let this crazy reading simmer a bit before writing a comment. Then I remembered that I have the memory of a bruised butterfly* and well, now the tram has passed but I'll still try to catch it on the run.

A thick fog envelops the summer mansion where the Tyrone family is gathered; the mother Mary has just come out of a period of morphine detoxification, of which she is addicted, and the tension in the relationships with her husband and two sons is palpable. O'Neill explores his family life, just as it is without too many frills, and shapes a poignant drama, of mortifying inevitability. The dialogues are a masterpiece of suffering, each with its own significance; wife and husband verbally struggle to reaffirm their right to be the victim of the situation, mother and younger son (the personification of the author) blame and coddle each other's self-destructions, the older son triggers the proverbial patricide (only verbal). Among the thousand nuances of this play emerges especially the cloak of pity around the woman, which then becomes self-pity and fierce male judgment, only a little softened by family affection, for the inability to rise up, the weakness of what should have been the "queen of the house". One must read O'Neill to also read a bit about oneself.

* as proof of this, if one day you meet me and ask me "Excuse me, what was the title of that O'Neill play?" I will probably answer you: "The Long Travel... no no... The Long Journey Through the... no wait... The Journey from the Day to...ok let me Google it for a moment"

Rating: 9/10

Another classic and widely read theatrical work that I have been reading lately. It is truly a very important and powerful work, full of tragedy and cynicism. The truth is that as a theatrical work, it is perhaps the darkest and most pessimistic of those I have read so far (not many, but they are good!), surely not a work to "have a good time". The characters are tragic and one could say beaten by fate but also by their bad choices, of course they are taken from life. With this theatrical work, Eugene O'Neill makes the reader/audience think about some things regarding the family and their choices as far as the way of life is concerned. The dialogues are natural and human, full of cynicism and bitterness. It darkened my soul a little at some points, but it was worth the effort.

This work by Eugene O'Neill delves deep into the human condition and the complex relationships within a family. The story unfolds with a series of events that expose the flaws and weaknesses of the characters. The tragic nature of their circumstances makes it a thought-provoking and emotionally engaging read. The use of language and the development of the plot are masterful, keeping the reader on the edge of their seat until the very end. Overall, it is a remarkable piece of literature that offers a profound exploration of the human psyche and the consequences of our actions.

*Read for class*

Nope, not a fan. This simple statement holds a world of meaning. It could refer to not being a fan of a particular book, movie, or activity. Maybe it's because the content didn't resonate, or the style wasn't to one's liking. It could also imply a lack of enthusiasm for a person, perhaps due to their behavior or personality. However, just because someone isn't a fan doesn't mean they can't appreciate the efforts that went into creating or doing something. There are always different perspectives and tastes, and that's what makes the world so diverse. Sometimes, not being a fan can lead to a search for something else that might better suit one's interests and preferences. In the end, it's all about finding what truly makes us happy and engaged.

Eugene O'Neill has long been just a name to me. However, after experiencing this play, I realize how much I have missed.

This play, which is highly autobiographical, tells the story of a deeply dysfunctional family and the great difficulty in breaking free from the past.

Despite containing elements of dark comedy, it is far from light-hearted. The characters' struggles are truly heart-wrenching. It left me with a sense of unease and sadness, especially considering that O'Neill himself seemingly could never break free from the chains of his traumas.

Alcoholism, mental disorders, and traumas often span generations, but one must hope that there is always the possibility of change. There is a certain fatalistic hopelessness in the play that can be depressing, yet it is also true, raw, and poetic.

Mary's words, "None of us can help the things life has done to us. They're done before you realize it, and once they're done they make you do other things until at last everything comes between you and what you'd like to be, and you've lost your true self forever," truly capture the essence of the play's themes.

This play has opened my eyes to the complex and often tragic nature of human existence, and I am grateful for the opportunity to have experienced it.

I have a distinct preference for this over "Death of a Salesman."

It is an incredibly complex and conflicting piece of work.

Although it often leaves one feeling depressed and hopeless, it has the remarkable ability to make you deeply reflect on life.

It forces you to consider how much of our existence is truly out of our control.

We often assume that we have the power to shape our lives as we wish, but this work challenges that assumption.

It shows us that there are forces at play, both within and outside of us, that can have a significant impact on our命运.

It makes us realize that sometimes, no matter how hard we try, things may not turn out the way we want them to.

This realization can be both humbling and enlightening, as it forces us to confront the reality of our limitations and the uncertainties of life.

In the end, it is this ability to make us think and question that makes this work so valuable and engaging.

It requires a great deal of courage to present all the problems of one's personal life and those of the closest family members in the form of a beautiful spectacle for the help and guidance of others.

One must be very brave to overcome the deep-seated fears of the judgments of others, move forward, and make a decision to create such an impact.

For the above reasons, this book is highly respectable to me; more than what I want to rate it with four, five, or six stars on Goodreads.

Qurban.

  
    ”The fault, dear Brutus, is not in our stars, but in ourselves that we are underlings.”
  

Long Day’s Journey into Night is a captivating story that delves into the lives of the Tyrone family. James Tyrone, the father, is a prosperous landlord, yet his stinginess leads him to make questionable decisions, such as sending his sick son Edmund to a quack. Jamie, the elder son, sees no point in pursuing his acting career since the family is financially well-off, and instead, he idles away his days and nights in a drunken stupor. Mary, the mother, is burdened with arthritis and finds herself constantly reminiscing about her youth, which only adds to the family's tensions. Edmund, the younger son, is bedridden with a deteriorating health condition.





  Before you read the following summary, I’d want to clarify that it’s my personal interpretation of the book so it may or may not be the original idea the author wanted to convey.





The play is divided into four acts, each representing a different time section of the family's ordinary day. It begins at 8:30 in the morning and ends at roughly 23:30, just before bedtime. The story unfolds through the family's interactions, arguments, and moments of reflection. What makes this play so interesting is its lack of a traditional plot twist. Instead, it presents a realistic portrayal of an American middle-class family in the 1940s or 1950s, dealing with the everyday challenges of life, love, and work.




The characters in Long Day’s Journey into Night are complex and well-developed. James Tyrone's frustration with his sons' lack of ambition and Mary's paranoia are palpable, and the reader can't help but empathize with their struggles. Jamie's hedonistic lifestyle and Edmund's illness add another layer of depth to the story. The family's arguments and reconciliations are a testament to the power of family bonds, even in the face of adversity.




In conclusion, Long Day’s Journey into Night is a thought-provoking play that offers a unique perspective on the human condition. Its relatable characters and realistic portrayal of family life make it a must-read for anyone interested in exploring the complexities of relationships and the meaning of life. I highly recommend this play to anyone looking for a challenging and rewarding read.

I feel that among the plays that I have read, "The Iceman Cometh" and "Long Day's Journey into Night" have a greater share in my heart.

"Long Day's Journey into Night" is largely drawn from O'Neill's own life. O'Neill's brother (Edward) died at the age of two, and in this play, it is interesting that O'Neill has given his own name - Eugene - to the character of the dead son in the Tyrone family. By showing one day in the life of the Tyrone family, with a mother who is unable to bear the grief and has become addicted to morphine, and a father who was once an actor but whose career path has been defeated, O'Neill not only depicted his own life but also portrayed the challenges that any American family and even any family in the world may face.

This play, while simple and clear, is very realistic, very bitter and poignant, and I know that I will never forget it for a long time.

Characters drawn from life. As the work develops, their tragedy increases. Their straightforwardness and cynicism characterize them.

This description presents a set of characters that seem to be rich and complex. The fact that they are drawn from life gives them a certain authenticity and relatability. The increasing tragedy in their storylines adds depth and drama, making the readers more invested in their fates.

Their straightforwardness and cynicism are interesting traits that set them apart. It could be that these qualities are a result of their experiences in life, which have made them jaded and less trusting. However, it also makes them more honest and upfront, which can be both refreshing and challenging for those around them.

Overall, these characters seem to have a lot of potential for exploration and development in the work. It will be interesting to see how their stories unfold and how their characters evolve over time.

Strong stuff.

It refers to something that has a powerful impact or is of great intensity. It could be a strong emotion, a powerful argument, or a forceful action.

Unhappy people.

These are individuals who are not experiencing a state of contentment or joy. Their unhappiness can stem from various sources such as personal relationships, work, or life circumstances.

Remarkably complex psychological stage instructions.

This implies that the instructions related to the psychological stage are extremely intricate and detailed. It suggests that understanding and following these instructions may require a high level of psychological knowledge and expertise.

Together, these three elements create a complex and perhaps somewhat mysterious picture. The strong stuff may be related to the unhappiness of people, and the remarkably complex psychological stage instructions could be the key to understanding and addressing this unhappiness.

However, without further context, it is difficult to fully grasp the meaning and significance of these words. They could be part of a larger discussion about human emotions, psychology, or the human condition.

Nevertheless, they do pique our curiosity and make us wonder about the hidden depths and complexities that lie beneath the surface of our lives.