Days Without End, by Nobel Prize (1936) winning playwright Eugene O'Neill was first introduced to the world in 1933. This unmarked limited edition is #149 of 325.

This limited edition is printed on all rag paper and signed by the author. The book is finely printed and the fore and bottom edges are untrimmed. The top edge is trimmed and nicely gilt. The first act of this four act play takes place in New York City on a Spring day in 1932 in the office and apartment of John Loving, a comfortable executive with Eliot and Company . The fourth act begins in the bedroom of Elsa in bed with a stunned expression and John on the verge of a mental collapse. The author was one of the first American playwrights to use American English and realism in his works and is often put on the short list of America's finest writers. This is a fine and important collectible for any library. 

Signed by Author, Eugene O'Neill.

This item will be packed carefully and shipped to you one day after your payment is received.

If you want any additional pictures or have questions, send me a message.

Eugene Gladstone O'Neill (October 16, 1888 – November 27, 1953) was an American playwright and Nobel laureate in literature. His poetically titled plays were among the first to introduce into the U.S. the drama techniques of realism earlier associated with Russian playwright Anton Chekhov, Norwegian playwright Henrik Ibsen, and Swedish playwright August Strindberg. The tragedy Long Day's Journey into Night is often numbered on the short list of the finest U.S. plays in the 20th century, alongside Tennessee Williams's A Streetcar Named Desire and Arthur Miller's Death of a Salesman.[1]

O'Neill's plays were among the first to include speeches in American English vernacular and involve characters on the fringes of society. They struggle to maintain their hopes and aspirations, but ultimately slide into disillusion and despair. Of his very few comedies, only one is well-known (Ah, Wilderness!).[2][3] Nearly all of his other plays involve some degree of tragedy and personal pessimism.

After his experience in 1912–13 at a sanatorium where he was recovering from tuberculosis, he decided to devote himself full-time to writing plays (the events immediately prior to going to the sanatorium are dramatized in his masterpiece, Long Day's Journey into Night).[9] O'Neill had previously been employed by the New London Telegraph, writing poetry as well as reporting. In the fall of 1914, he entered Harvard University to attend a course in dramatic technique given by Professor George Baker. He left after one year.[9]

During the 1910s O'Neill was a regular on the Greenwich Village literary scene, where he also befriended many radicals, most notably Communist Labor Party of America founder John Reed. O'Neill also had a brief romantic relationship with Reed's wife, writer Louise Bryant.[16] O'Neill was portrayed by Jack Nicholson in the 1981 film Reds, about the life of John Reed; Louise Bryant was portrayed by Diane Keaton. His involvement with the Provincetown Players began in mid-1916. Terry Carlin reported that O'Neill arrived for the summer in Provincetown with "a trunk full of plays", but this was an exaggeration.[9] Susan Glaspell describes a reading of Bound East for Cardiff that took place in the living room of Glaspell and her husband George Cram Cook's home on Commercial Street, adjacent to the wharf (pictured) that was used by the Players for their theater: "So Gene took Bound East for Cardiff out of his trunk, and Freddie Burt read it to us, Gene staying out in the dining-room while reading went on. He was not left alone in the dining-room when the reading had finished."[17] The Provincetown Players performed many of O'Neill's early works in their theaters both in Provincetown and on MacDougal Street in Greenwich Village. Some of these early plays, such as The Emperor Jones, began downtown and then moved to Broadway.[9] In an early one-act play, The Web. written in 1913, O'Neill first explored the darker themes that he later thrived on. Here he focused on the brothel world and the lives of prostitutes, which also play a role in some fourteen of his later plays.[18] In particular, he memorably included the birth of an infant into the world of prostitution. At the time, such themes constituted a huge innovation, as these sides of life had never before been presented with such success.

O'Neill's first published play, Beyond the Horizon, opened on Broadway in 1920 to great acclaim, and was awarded the Pulitzer Prize for Drama. His first major hit was The Emperor Jones, which ran on Broadway in 1920 and obliquely commented on the U.S. occupation of Haiti that was a topic of debate in that year's presidential election.[19] His best-known plays include Anna Christie (Pulitzer Prize 1922), Desire Under the Elms (1924), Strange Interlude (Pulitzer Prize 1928), Mourning Becomes Electra (1931), and his only well-known comedy, Ah, Wilderness!,[3][20] a wistful re-imagining of his youth as he wished it had been.

In 1936, O'Neill received the Nobel Prize in Literature after he had been nominated that year by Henrik Schück, member of the Swedish Academy.[21] O'Neill was profoundly influenced by the work of Swedish writer August Strindberg,[22] and upon receiving the Nobel Prize, dedicated much of his acceptance speech to describing Strindberg's influence on his work.[23] In conversation with Russel Crouse, O'Neill said that "the Strindberg part of the speech is no 'telling tale' to please the Swedes with a polite gesture. It is absolutely sincere. [...] And it's absolutely true that I am proud of the opportunity to acknowledge my debt to Strindberg thus publicly to his people".[24] Before the speech was sent to Stockholm, O'Neill read it to his friend Sophus Keith Winther. As he was reading, he suddenly interrupted himself with the comment: "I wish immortality were a fact, for then some day I would meet Strindberg". When Winther objected that "that would scarcely be enough to justify immortality", O'Neill answered quickly and firmly: "It would be enough for me".[25]

After a ten-year pause, O'Neill's now-renowned play The Iceman Cometh was produced in 1946. The following year's A Moon for the Misbegotten failed, and it was decades before coming to be considered as among his best works.