Skip to comments.Mark Steyn: Death of a salesman
Posted on 02/17/2005 7:50:53 AM PST by Pokey78
Attention must be paid. Thats the line. And if you missed it this last week, well, you werent paying attention. It was the headline in the Christian Science Monitor, and the New York Times: Attention Must Be Paid. Californias Contra Costa Times went with: Attention Must Be Paid To Playwright. And the Chicago Tribune saved it for the slow-motion elephantine punchline of its opening paragraph: The man who wrote Death of a Salesman died Thursday. And attention must be paid.
In Britain, they paid even more attention. For a couple of decades, the National Theatres given the impression it would be happy to stage Arthur Millers Notes To The Milkman, preferably as a trilogy. There is, of course, an Arthur Miller Centre for the Advancement of American Studies at the University of East Anglia, which is located as his most recent biographer Martin Gottfried puts it in Norwich, outside of London. Close enough and, proximity-wise, certainly closer than the British director David Thackers assessment of Miller as just below Shakespeare. He is as great as any writer in the history of playwriting, declared Thacker.
The attention-getter comes from Linda Loman, in her famous speech rebuking her sons for disdaining their father, the eponymous salesman facing his eponymous death:
Hes not the finest character that ever lived. But hes a human being and something terrible is happening to him. So attention must be paid. Hes not to be allowed to fall into his grave like an old dog. Attention, attention must be finally paid to such a person.
If there were other memorable lines in the Miller oeuvre, his obituarists seemed disinclined to wander over to the dictionary of quotations and look them up. And in fairness like Bob Hope: Thanks For The Memories! and Sinatra: He Did It His Way the ubiquitous send-off did capture, in its relentless hectoring, something of the essence of the man and his writing. The other word was moralist: He was the Moral Voice of the American Stage (the New York Times headline) with A Morality that Stared Down Sanctimony (another New York Times headline: you can never run enough Arthur Miller appreciations). Moralist in this instance is code for leftie. For some reason editors and critics were a little touchy about the suggestion that there might be any partisan political characterisation to his decade-in decade-out unchanging indictment of the sad, hollow centre of the American Dream (The Atlanta Journal-Constitution).
That, by the way, would be a better name for his Centre for the Advancement of American Studies: the Arthur Miller Sad Hollow Centre of the American Dream, Norwich, near London. But thats why attentions paid: the author of The Crucible gave the American Left its enduring metaphor for the McCarthy era the witch hunts and, indeed, for the post-9/11 Bush-Ashcroft reign of terror, and for terrors yet to come. Its the all-purpose portable metaphor for anti-Americanism.
I tired of his plays long before the politics. In London in the Eighties and Nineties, there seemed to be a new Arthur Miller every month, until they all blurred into one unending premiere The Ride Down Mt Morgan, The Last Yankee, The American Clock, Broken Glass, The Last American, The Ride Down Broken Glass, The Last Yankee Down Mt Morgan, The American Yankee, Broken Clock, all playing like scenes that Elia Kazan or Jed Harris cut from the out-of-town try-outs of his early hits, all circling back not just to the same broad themes but the same plot loss of respect of ones children and the same resolution suicide and, when the cupboard got really bare, the same character his ever marketable ex, Marilyn Monroe. Broadway, wisely, decided that if every new Miller piece played like a revival, you might as well stick to reviving the old stuff.
On his trips to Britain, he liked to say that London still had plays whereas Broadway only had shows. Given that at the time London had Cats and Starlight Express, and Broadway had nothing to compete, this didnt seem a very helpful distinction. But its a useful insight into whats wrong with his playwriting. All his plays could do with being a bit more of a show thats to say, fine, wallop us over the head with the big preachy indictment of the hollow American Dream for an hour or two, but then lighten up for ten minutes; give us something witty, playful, flirtatious. Vary the tone, vary the tempo. But, as Noël Coward might have observed after visiting the Arthur Miller Centre for Sad Hollow Indictments, Very flat, Norwich.
Happily for him, Millers utter humourlessness was taken merely as further evidence of his great moral seriousness; his tin ear for the rhythm of American speech was mistaken for poetry; and nobody seemed to mind that, excepting Willy Loman, his characters were thin, and his female ones even more emaciated, especially the ones based on Marilyn. It is astonishing, wrote the New Republics Robert Brustein in his review of After the Fall (1968), that he could live with this unfortunate woman for over four years and yet be capable of no greater insights into her character. It requires some perverse skill to be able to demolish even Marilyn Monroe as a stage presence, but in his multiple attempts Miller never failed to snuff her candle in his windiness. In the reflected glow of their celebrity marriage, Marilyn humanised him to the American public a lot more than he ever managed to humanise her on stage.
But there were always the revivals. The playwrights most lucrative year was 1984, when Dustin Hoffman starred in Salesman on Broadway. Miller may have disliked shows, but he understood show business. He and Hoffman cut themselves in as co-producers with Robert Whitehead, who did most of the actual producing. After the opening, the other two strong-armed Whitehead into agreeing to a dramatic reduction of his share of the take Hoffman and Miller would each get 45 per cent of the productions profits, leaving 10 per cent for Whitehead. Arthur likes money, said Whitehead. And there are few surer get-rich-quick schemes than a savage indictment of the cheap hucksterism at the heart of the American Dream.
Willy was a salesman, says Charley at the climax of the play. He dont put a bolt to a nut, he dont tell you the law or give you medicine. Hes a man way out there in the blue, riding on a smile and a shoeshine.
Frances Fitzgerald lifted the line for her account of President Reagan in his Star Wars phase Way Out There In The Blue, the simpleton salesman riding space-age fantasy missiles on a smile and a shoeshine. But missile defence is here and the empty suit, the amiable dunce, brought down the Soviet Union.
Even in his disparagement, Miller was right to grasp that the salesman is a critical American archetype. In the dictatorships he admired, from the USSR to Cuba, you dont need them: theres no competition, no choice, nothing on the shelves, and every checkout line in the supermarket is perforce for five items or less. And in a one-party state, politicians dont need to be salesmen, either or at least not to their own people: Gorbachev and Castro were very canny in the way they flattered Miller, understanding that a man of such unbounded self-regard judged the health of nations and political systems in the same way he did the health of the American theatre by how fulsomely they acknowledge his genius. And Fidel and Gorby were applauding long after Broadway had fallen silent.
He wasnt amiable enough to be an amiable dunce but he was the most useful of the useful idiots. It was a marvellous inspiration to recast the communist hysteria of the 1950s as the Salem witch trials of the 1690s. Many people have pointed out the obvious flaw that there were no witches, whereas there were certainly communists. For one thing, they were gobbling up a lot of real estate: they seized Poland in 1945, Bulgaria in 46, Hungary and Romania in 47, Czechoslavakia in 48, China in 49; they very nearly grabbed Greece and Italy; they were the main influence on the nationalist movements of Africa and Asia. Imagine the Massachusetts witch trials if the witches were running Virginia, New York and New Hampshire, and you might have a working allegory. As it is, Millers play is an early example of the distinguishing characteristic of the modern Western Left: its hermetically sealed parochialism. His genius was to give his fellow lefties whats become their most cherished article of faith that any kind of urgent national defence is, by definition, paranoid and hysterical. It was untrue in the Fifties and its untrue today. Indeed, the hysteria about hysteria the criminalisation of dissent is far more hysterical than the hysteria about Reds.
The Crucible will survive because its the modular furniture of left-wing agitprop: whatever the cause du jour, you can attach it to and it functions no better or worse than to anything else, mainly because its perfectly pitched to the narcissism of the Left. As for Salesman, I agree with the Wall Street Journals Terry Teachout that it works because, underneath its pretensions to forensic realism, its grossly sentimental. What else is that attention must be paid moment about? But Id happily have a bet with David Thacker that in 20 years even the subsidised Brits will have given up on their favourite heavy-handed doctrinaire American leftist. And round about 2020 the Arthur Miller Centre will be running a week of lectures headlined, Why Is Attention Not Being Paid?
Steyn should try to emulate me and be less well read. That way he would have only read Miller's "Death of Salesman" and could agree uncritically with all the critical acclaim.
flag for later
And there are few surer get-rich-quick schemes than a savage indictment of the cheap hucksterism at the heart of the American Dream.
Even if youre disappointed that a Steyn article is more theater review than Eurinal bashing, that line alone is worth the price of admission.
>> "He wasnt amiable enough to be an amiable dunce" <<
Incisive, well-written and right. As always. Go Steyn!
I just want to know why people read stuff like Death of a Salesman.
There's enough gloom in the world through the news without adding to it through literature.
I don't want to read or listen to a gloomy story. If I'm giving my time to something, it has to be optimistic and in some way positive.
Why all this focus on gloom and tragedy in literature -- and in literature classes?
I can't think of something surer to turn off students than gloom.
It sure turned me off when I was required to study literature.
Because it is beautifully written and heart wrenching. A bit cornball in parts, but it also really lets good actors show their stuff.
Yeah, it's depressing, but my life is so damn happy, I need a bit of maudlin gloom to wipe that idiotic smile off my face now and then.
Mark Steyn was on the Laura Ingraham radio show last week, which was the first time I had ever heard his voice. What a funny and sharp guy he is, even off the cuff like that.
Loved hearing his voice, which is similar to Christopher Hitchens', just not quite as deep. I knew he was a Brit, but somehow didn't expect the rather cultivated accent he has. In fact, it's a very cultivated accent, now that I think of it.
I hope she has him on again. He should go on other programs too, maybe he has and I've just missed him till now.
If I have to read "plays," give me Oscar Wilde.
Actually, he is a Canadian.
Another great Steyn! And I know that's redundant. Production of his plays will dwindle with time. Over-rated doesn't begin to say it!
It is rare that I have anything critical to say about Steyn, but he missed the mark here. The relevant analogy is not whether there were witches in NY and communists in Romania. The relevent analogy is that there were not witches in MA, and there were Communists in Washington.
Well, I thought I heard once that he was Canadian, but this accent was so British. I didn't think Canadians had such a pronounced British sound. Guess I'm wrong.
That's a theme Michael Moore profitably employed.
Luckily, not all American hucksters are self-hating, self-worshipping narcissists.
His genius was to give his fellow lefties whats become their most cherished article of faith that any kind of urgent national defence is, by definition, paranoid and hysterical. It was untrue in the Fifties and its untrue today. Indeed, the hysteria about hysteria the criminalisation of dissent is far more hysterical than the hysteria about Reds.
Right on, as usual, Mr. Steyn. Anti-Americanism always sells well with the "hate America" crowd on both our coasts, so Mr. Miller, who parlayed his so-so talent and early hits into a cash cow, was quite a shrewd salesman.
Denny Crane: "There are two places to find the truth. First God and then Fox News."
I always get Normal Lear and Arthur Miller confused. I have trouble keeping all of the "entertainer" commies seperated.
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