The New Criterion is probably more consistently worth reading than any other magazine in English.
by Brooke Allen
On the life and legacy of August Strindberg, the Swedish artist whose variety is under-appreciated.
was right!Support The
In twenty-first-century America, August Strindberg (1849–1912) is known as a “classic” writer, but his actual works are familiar primarily to drama students and nonprofit-theater directors. A few of Strindberg’s plays—Miss Julie, The Father, Master Olof, The Dance of Death, The Ghost Sonata, The Stronger—have worked their way into the canon. As much as their excellence, the fact that these works provide some powerful monologues for acting students has ensured their survival there. But does anyone outside of Sweden have any conception of Strindberg the satirist, the radical, the rebel, the humorist, the historian, the novelist, the feminist, the hypnotist, the painter, the photographer, the alchemist, the wild eccentric?
The last big biography of Strindberg was Michael Meyer’s in 1985, a hefty tome that concentrated largely on Strindberg the sexist, ra ...
This article is available to subscribers and for individual purchase
This article originally appeared in The New Criterion, Volume 31 October 2012, on page 24
Copyright © 2015 The New Criterion | www.newcriterion.comhttp://www.newcriterion.com/articles.cfm/Strindberg-s-inferno-7448
E-mail to friend
Caesar's death was more than the end of an extraordinary life; it was the end of an era.
Ayaan Hirsi Ali's new book argues that the time for a Muslim reformation is now.
A selection from David Pryce-Jones's memoir reveals the literary world, anti-Semitism, and changing politics of twentieth-century Europe.
The Walter Duranty Prize for Journalistic Mendacity
Introduction to The Kennedy Phenomenon
The Kennedy Phenomenon: "Watching the Kennedy Train-Wreck"