Free Ebook Look Back in Anger (Faber Drama), by John Osborne
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Look Back in Anger (Faber Drama), by John Osborne
Free Ebook Look Back in Anger (Faber Drama), by John Osborne
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About the Author
John Osborne was born in London in 1929. Before becoming a playwright he worked as a journalist, assistant stage manager and repertory theatre actor. Seeing an advertisement for new plays in The Stage in 1956, Osborne submitted Look Back in Anger. Not only was the play produced, but it was to become considered as the turning point in post-war British theatre. Osborne's protagonist, Jimmy Porter, captured the rebelliousness of an entire post-war generation of 'angry young men'. His other plays include The Entertainer (1957), Luther (1961), Inadmissible Evidence (1964), and A Patriot for Me (1966). He also wrote two volumes of autobiography, A Better Class of Person (1981) and Almost a Gentleman (1991) published together as Looking Back: Never Explain, Never Apologise. His last play, Deja Vu (1991), returns to the characters of Look Back in Anger, over thirty years later. Both Look Back in Anger and The Entertainer were adapted for film, and in 1963 Osborne won an Academy Award for his screenplay for Tom Jones. John Osborne died on 24 December 1994.
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Product details
Series: Faber Drama
Paperback: 144 pages
Publisher: Faber & Faber; Main - Faber Modern Classics edition (April 2, 2015)
Language: English
ISBN-10: 057132276X
ISBN-13: 978-0571322763
Product Dimensions:
5.2 x 0.4 x 7.7 inches
Shipping Weight: 2.9 ounces (View shipping rates and policies)
Average Customer Review:
3.5 out of 5 stars
16 customer reviews
Amazon Best Sellers Rank:
#3,062,150 in Books (See Top 100 in Books)
I find a lot of the other British novels and stories from the "Angry Young Men" movement not very engaging, but this play has incredible energy. I enjoyed it very much. I'm not usually drawn into plays but was totally into *Look Back in Anger* from the first scene. This might be partly because of the wonderful prose-y stage directions that do a lot with the characters, but I think it's more about the dialogue. Osborne manages to make most of these characters both extensively, ironically self-reflective and mostly not tedious, which I find really impressive. Every scene brims with (surprise) anger, depression, and the crisis of masculinity in Post-War Britain.
I have read Look Back in Anger at least 5 times in my life and each time I enjoy it as much as I did the first time. The plays depiction of youth in a pre-war era is right on point and is as true today and when John Osborne first penned this work.
I purchased this book for a class. Look Back in Anger is a good play. The seller mailed an old hardback from a library. I like the latter, because it is easy to carry around in medium size purse. Also, the shipping time was reasonable.
Needed it for school.
The seller advertised this book's condition as "NEW," but when I received the book, it was marked and highlighted. The inside was filled with notes and different color highlight marks. I don't like reading books that have all kinds of markings already inside. For this reason I am dissapointed in this seller for advertising the book as being in "NEW" condition when in reality it was very much used and abused.
This may have been shocking to theatergoers in the 1950s, but in the late 2010s, the main characters just comes across as an angry young white guy who makes everyone's life more difficult. Jimmy Porter is the angry young man (the blurb on the back says he is the "original angry young man" -- quite a boast and certainly wrong). He criticizes everything and everyone that crosses his path - pedestrians, his best friend and roommate, his wife, his wife's family, the government, the public, people that go to the movies on Sunday, priests...it goes on and on. He is immensely tiresome. There are a few good lines in here, but it doens't make up for how exhausting it all is. And the plot is hard to believe as well -- if it is believeable, than humanity is a sad lot.
Sometimes it's useful to be reminded that our world is a place that more often than not doesn't make much sense. It's all too frequently a setting for the display of intimidating and triumphal cruelty that takes verbal forms we may not have anticipated but that we immediately recognize when we hear them. Some among us seem to be virtuosos when it comes to cynically devising and inflicting pain, most often on those we care for and who happen to be close by.Jimmy, the demonstrably vicious protagonist of John Osborne's play Look Back in Anger is just such an unrestrained linguistic thug. He inflicts the harshest indictments, the most injurious epithets, and the most painfully timed indifference on everyone he knows, and he does so for reasons that are never clear. In fact, he needs no immediate reason, wants no immediate reason, and offers no immediate reason.Jimmy is the sort of unsolicited adversary who is at his best, his most inspired, his most whole, and his most creative when he's angriest. I've known people like Jimmy. Their anger may be signaled by a vaguely demonic smirk, nothing too obvious, but definitely there and bespeaking enjoyment. Though their rage is without discernible prompting or purpose, it fills them with self-righteousness that provides a kind of unspoken rationale. The fact that it's actually irrational doesn't in the least diminish their certitude. The intensity of their anger is too keen and all-consuming not to be justified, and not to justify inflicting derision, shame, humiliation, and undeserved suffering on others.Though they have no immediate concrete excuses, the brutes I've known have long since put forth a false, flimsy, and far-fetched but insidiously plausible patch work of contextual explanations for any and all abusive excesses. Jimmy is sure that he's as smart and well educated as anyone, and he may be, but he attended a lesser university in the British academic status hierarchy, and he lives and makes a living as a member of the working class. He sees himself as a victim of the pernicious and pervasive class structure that organizes once proudly imperial Great Britain, and he takes pains to present himself as a rude, boisterous, ill-mannered lout, making the case that his oppressors and their hierarchical system are right. Ironically, however, he makes the case so well that its rectitude is suspect. Surely he's putting us on with his overblown caricature of a demonically worthless member of the lumpen proletariat.In spite of his thoroughly objectionable behavior and mean-spirited character, however, Jimmy enjoys the undying love of his attractive, well-bred, middle class wife Alison. She married Jimmy over her parents' intensely bitter objections, and as his wife we see her standing at the ironing board, making tea, doing laundry, and absorbing punishment but not much else. What is there in this chronically contentious and demeaning relationship for her? We are given little or nothing to use in making even the most weakly informed guess. If I hadn't seen relationships such as this for myself, my parents were a case in point, I'd conclude that the marriage of Jimmy and Allison was too destructive and devoid of everyday comforts to be anything more than an unconvincing literary contrivance.Jimmy and Alison live with Cliff, a man about Jimmy's age, in his middle twenties, and one of Jimmy's few friends. Though Cliff is relaxed and easy going, Jimmy snipes and jabs at him relentlessly. Cliff does what he must to retain his sanity, but one imagines that he stays with the couple out concern for Alison, and in spite of Jimmy's barbs and taunts. Oddly, Cliff and Allison are openly demonstrative in their affection for each other, hugging and occasionally kissing. Jimmy, contrary to expectations of one as prickly and easily offended as he has shown himself to be, makes nothing of it. Perhaps he thinks it can be based on nothing but friendship. After all, women don't leave men like Jimmy. He's no doubt convinced that along with his boorishness comes an irresistible animal magnetism peculiar to brutishly offensive males. Or something like that.About half way through, a fourth character enters the play. Rather than going into details and telling the whole story, suffice it so say that Jimmy treats her even worse than he treats his wife. Again, we see the inexplicably senseless and often cruel and painful nature of the lives we sometimes live.If there is an alternative or complementary theme in this, say class antagonism and its costs to the socially disadvantaged, it's not sufficiently well developed to be more than ancillary. But what we see and hear is thematically strong enough to make the play worthwhile. It's all too easy to lose sight of the fact that our damaging irrationality often assures that the most objectionable among us get the most love, devotion, and other micro-social payoffs. We do what we do, too often meaning victory for sharks and other predators in our vicinity.
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