Works of American playwright Arthur Asher Miller include Death of a Salesman (1949), for which he won a Pulitzer Prize, and The Crucible (1953).
This essayist, a prominent figure in literature and cinema for over 61 years, composed a wide variety, such as celebrated A View from the Bridge and All My Sons, still studied and performed worldwide. Miller often in the public eye most famously refused to give evidence to the un-American activities committee of the House of Representatives, received award for drama, and married Marilyn Monroe. People at the time considered the greatest Miller.
It took me a long time to realize Arthur Miller was my favorite playwright. I know it's kind of common but I find his words timeless and I know that underneath that post WWII rough exterior New Yorker is a very softhearted philosopher. I read his biography a couple years ago and found him to feel like family.
If only Arthur Miller could have been alive to see the theatrical production that was 2016... he really would have had a field day. It's almost hilarious to read his commentary on the 2000 election as if that was the worst it could be. Everything in me wanted to say "just you wait, dude."
"Human beings, as the poet said, cannot bear much reality, and the art of politics is our best proof." (Miller, "On Politics")
Described as a foray into the intersection between acting and politics, this book, written in the wake of the train wreck that was the 2000 Presidential election (think hanging 'chards' and Ralph Nadar), is, in main, the reminiscences of an older man, a 'public intellectual,' one Arthur Miller, on the previous fifty years or so of Presidential elections, foreign policy, and, last but not least, the art of acting (which he should know much about considering his status as a stellar, award-winning playwright). So, along the way, we get meditations or episodic reflections on many of these features of American life: a reflection of viewing Marlon Brando in his first Broadway play; ruminations on the 2000 election debates, with their 'false,' inauthentic acting by Gore and Bush; ratiocinations on FDR, as policy maker and 'true' embodiment of the twinning of theater and policy in politics; FDR's most feared antagonist, one Huey Long, and his murderous, demagogic reign in Louisiana in the 1930s; Ronald Reagan, the 'Teflon' president, whose posing came naturally, as an ex-actor; and JFK, whose presidency inaugurated the age of the T.V. presidency, which the author bemoans to some profoundly valid extent. Come to think of it, this effort is like listening to some voluble, loquacious raconteur, rambling from topic to topic, always informed, always erudite, and always agreeable. Indeed, the truths he puts on exhibit here, dated due to the lack of intrusion of material concerning developments such as the Internet, streaming, and 'X,' are as valuable as his prose is smooth, pellucid, and clear. To assert that this book is a worthwhile one would truly be an understatement of some import; for it is an essential book, a 'memory-laden' artifact crafted by one of the most talented story tellers of the 20th century, at the top of his game intellectually, engaged with the truth, and willing to take no prisoners. A good book this is!
Interesting little essay about acting and politics, though strangely very little about presidents. The insights about politicians as actors are not very profound. Miller does make several sound points about politicians winning over their audience and the failures of some politicians to convince voters. Overall a forgettable book but enjoyable while reading it.
Interesting bit of short nonfiction in which Miller makes a striking case for the linkage between actors and politicians. Almost too close to the current situation we see in 2023 especially since it was written in 2001! Miller makes a solid case to prove his point.
A Brilliant piece about link between acting and leading! All great leaders are great actors and a great actor, believes what he is saying.
Although not really an original line of thought, what’s great in this book is analysis of the situation when acting becomes an end in itself for an actor-leader, like in the case of Reagan, Bush and Gore. There is (varyingly) little connection between what they believe and what they act, that is, if they believe in anything at all except playacting.
In this book playwright Arthur Miller (*The Crucible* and *Death of a Salesman*) makes the rather obvious point that political rhetoric has a lot in common with drama, that much of what we see is a *performance*. Political Scientist Murray Edelman (*The Political Spectacle* and *The Symbolic Uses of Politics*) made this point much better over 20 years ago.
The publishers are also obviously trading off of Miller's name. The book is published in hardback with a dust cover even though it is only 85 pages long with really generous use of white space. This probably could have been an article in *The Atlantic* instead of a hardcover book.
Still, it is well written, interesting, and a quick read. Just make sure that you borrow a copy.
I read this book when it first came out. I re-read it to see if the words still rang true. For the most part they do. I wonder how this book would be updated if Arthur Miller was still alive and watching Fox News and The Daily Show.
If I were rating this when the book was newly published I would give it 4 stars. Since others have made the same point as Mr. Miller over the last 13 years, and the material is dated, I am giving it 3 stars.