America’s leading review of the arts and intellectual life
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 © 2014 The New Criterion | www.newcriterion.comhttp://www.newcriterion.com/articles.cfm/Strindberg-s-inferno-7448
E-mail to friend
by Hadley Arkes
Analyzing the views of the distinguished legal scholar Richard Epstein.
by Donald Kagan
A lecture delivered by Donald Kagan after he received the second Edmund Burke Award for Service to Culture and Society.
A new biography of James Madison hopes to change the way we remember America's fourth President.
The Walter Duranty Prize for Journalistic Mendacity
Introduction to The Kennedy Phenomenon
The Kennedy Phenomenon: "Watching the Kennedy Train-Wreck"