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And finally, Koorey includes an appendix of premieres (US and London), dates, theaters, actors and directors, as well as the list of sources she has consulted, followed by two indices, one of names, one of titles and subjects. Though there is some really good stuff among the new pieces, the new edition’s chief virtue seems to me to lie in making the older gems readily available again, the likes of “Tragedy and the Common Man,” “On Social Plays,” “The Family in Modern Drama,” and the unforgettable “The Shadows of the Gods.”The additions to this new edition include an expanded and updated literary chronology.There are two new essay sections, with seven and eleven selections; thirteen additions to the cast lists; and the bibliography is carried forward to 1996 from 1977 but also fills out the earlier years and adds useful bits of information, including TV, videos, and CD-Roms.The second and third of these essays are related to the play published in 1945.These essays trace considerations about the questions that underlie the structure of those works.This procedure shows that, for Miller, his own life is highly associated with his own work experience. The first essays “A Boy Grew in Brooklyn” and “University of Michigan” focus on aspects about Miller´s childhood and his impressions about the University of Michigan, when he studied there.These personal impressions were set on a larger dimension: how he experienced his interaction with foreign people in Brooklyn when he was a child and mainly how he had been introduced at that time to the Depression Age, a recurrent historical episode presented in , another well-known play by Arthur Miller.Yet he writes the screenplay for the 1996 Hytner/Day-Lewis/Ryder Crucible!

The essay regarding the fifty-year anniversary of the play in History” reinforces and fulfills the main intent of Arthur Miller to expose and defend his own point of view in an open and passionate way, not only presenting arguments but also appealing to the reader to be aware of the seriousness of such discussion.

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, edited by Steve Centola, Arthur Miller emphasizes in the first paragraphs his astonishment about his involvement with the political life expressed in his past essays.

Although it seems a surprising factor for him, it does not surprise the reader of the audience who is familiar with Miller’s works.

Beforehand, we should take into consideration the title of this book, a reference taken from the epilogue of , one of his most famous plays, deeply connected to the intent to express a political point of view against the predominant hysteria in two historical events: the witch-hunt in Salem, Massachusetts, in 1692 and the witch-hunt stimulated by the Senator Joseph Mc Carthy in the 1950s.

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One of the “echoes” that hasn’t faded in the air, according to Miller’s point of view, is the impact of World War II, of Nazism on mankind, as a legacy of an unsolved sense of guilt.