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class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnText-bHjzlu iUEiRd hWyo iXWezO ptn__text">Marilyn Monroe and Arthur Miller, Reno, Nevada, 1960.</span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd iicloT jbIJNS ptn__cred">Photograph by Inge Morath / Magnum</span></div></div></figure><div data-ttid="ContentHearLeadRailAnchor" class="ContentHearLeadRailAnchor-jYVcDc djtEof"></div></div></div></div></hear></div><div data-attribute-verso-pattern="article-body" class="ArticlePageContentBackGround-cNiFNN kbAoLA article-body__ntent"><div class="ActnBarWrapperContent-lasBkU cAHp"><div class="ActnBarWrapperComponent-cjwxLS bEeSLb"><div data-attr-viewport-monor="" class="ActnBarWrapper-dhxmQh kNjTbQ viewport-monor-anchor"><button id="bookmark" aria-label="Save this story" class="ActnBarButton-dyFOZU hQrwCF bookmark large-screen"><span class="ActnBarSendaryButtonPrimaryIn-isbvyN cAwccV bookmark-button-in"><svg class="in in-bookmark" width="24" height="24" viewBox="0 0 24 24" fill="none" xmlns="><tle>Save this story</tle><path class="in-bookmark-fill" d="M20 23.9508L12.5 19.7312L5 23.9508V2.95081H14V3.93211H6V22.1845L12.5 18.5536L19 22.1845V8.83866H20V23.9508Z"></path><path class="in-bookmark-fill" d="M23 3H20V0H19V3H16V4H19V7H20V4H23V3Z"></path></svg></span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ActnBarButtonText-bYXYuh iUEiRd bkefvo gkccfO">Save this story</span></button></div><div data-attr-viewport-monor="" class="ActnBarWrapper-dhxmQh kAEsuD viewport-monor-anchor"><button id="bookmark" aria-label="Save this story" class="ActnBarButton-dyFOZU cjjxgx bookmark mobile"><span class="ActnBarSendaryButtonPrimaryIn-isbvyN cAwccV bookmark-button-in"><svg class="in in-bookmark" width="24" height="24" viewBox="0 0 24 24" fill="none" xmlns="><tle>Save this story</tle><path class="in-bookmark-fill" d="M20 23.9508L12.5 19.7312L5 23.9508V2.95081H14V3.93211H6V22.1845L12.5 18.5536L19 22.1845V8.83866H20V23.9508Z"></path><path class="in-bookmark-fill" d="M23 3H20V0H19V3H16V4H19V7H20V4H23V3Z"></path></svg></span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ActnBarButtonText-bYXYuh iUEiRd bkefvo gkccfO">Save this story</span></button></div></div></div><div class="LightboxWrapper-dxsWBV hhylRt"><div class="ArticlePageChunksContent-etcMtP bwyLBj"><div data-ttid="ArticlePageChunks" class="ArticlePageChunks-fLyCVG Uozmo"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa bDyAMU body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="has-dropp has-dropp__lead-standard-headg">For some time after I saw the director Ivo van Hove’s terpretatn of Arthur Miller’s 1956 play “A View om the Bridge” (at the Lycm), I found myself ponrg the productn’s graphic hysteria and homoeroticism. (The show, like the Signature Theatre Company’s current revival of the 1964 play “Incint at Vichy,” marks the centennial of Miller’s birth, to Jewish parents, Harlem 1915.) On enterg the theatre, one se, center stage, an enormo phallic object. Blanketed dark fabric, brgs to md one of Bart Newman’s totemic sculptur. As the hoelights go down, the stage lights e up; the ambience is pearly gray. Offstage, one hears an undulatg wave of Fré’s “Requiem”; the mic plays softly at first, then lour as the drapery is lifted om the object, which turns out to be a partly glassed- platform. On , two shirtls men are washg their arms, necks, and chts, shroud chiaroscuro lightg and steam. They are Brooklyn longshoremen: Eddie (Mark Strong), a tall, sewy, bald man, and Louis (Richard Hansell), who is younger and smaller. As they slough off the ss and the earthly filth they’ve accumulated the urse of the workday, they remble mols one of Gee Platt Lyn’s silvery Send World War-era imag of men stretchg, flexg, and otherwise gloryg the artist’s attentn—which have bee, over the years, emblems of the ways which queerns was manifted art long before Stonewall. (Van Hove, who is gay, is the partner of Jan Versweyveld, who signed the show’s set and lightg.)</p><p class="paywall">The atmosphere of romanticized masculy van Hove’s productn has ltle to do wh the melodramatic, Clifford Ots-like realism of Miller’s script, which scrib the openg scene this way:</p><blockquote class="BlockquoteEmbedWrapper-sc-SdiGL jPeLne paywall blockquote-embed"><div class="BlockquoteEmbedContent-RbGs gmbtPx blockquote-embed__ntent"><p>The street and hoeont of a tenement buildg. . . . The ma actg area is the livg room–dg room of Eddie’s apartment. It is a worker’s flat, clean, sparse, homely. There is a rocker down ont, a round dg table at center, wh chairs; and a portable phonograph. . . . As the curta ris, Louis and Mike, longshoremen, are pchg s agast the buildg at left. A distant foghorn blows.</p></div></blockquote><p class="paywall">One of the few thgs that van Hove’s openg shar wh Miller’s is s narrator, Alfieri (Michael Gould). Drsed a whe shirt and dark troers—the actors don’t wear regnizably perd cloth—Alfieri is a lawyer the Red Hook sectn of Brooklyn, where Eddie and his fay live; ’s a rough neighborhood, populated mostly by Italian immigrants. “This is the slum that fac the bay on the seaward si of Brooklyn Bridge,” Alfieri says, wh a “dis”- and “m”-laced Brooklyn flectn that do ltle to lend veracy to the dialogue. “This is the gullet of New York swallowg the tonnage of the world.” Alfieri is Miller’s Greek chos; as he looks out at om the semi-dark stage, he scrib aspects of the tragedy we’re about to wns. (Miller wrote two versns of “A View om the Bridge.” The first, a one-act, premièred on Broadway 1955; the two-act versn, pleted the followg year, is what van Hove . It’s not necsarily better—the expansn don’t improve on any of the characters—but fills out an eveng.)</p><p class="paywall">Eddie shar his flat wh his wife, Beatrice (the laser-sharp Nila Walker), and his beloved orphaned teen-age niece, Cathere (Phoebe Fox). His feelgs for Cathere are overwhelmg; she mak him shy, lovtck, a way that Beatrice do not—or, perhaps, that only Cathere n, largely bee she’s unattaable. Supported by Eddie, Cathere has been takg stenography lsons and has jt got a job workg for a plumbg pany. When Eddie hears the news, he tells Cathere that wasn’t what he had md for her—the guys she’ll be workg wh are too rough, unuth. He’s not terted Beatrice’s two cents—her nvictn that Cathere’s pennce is important to her growth. What he do have md is keepg Cathere jt the way she is, and the world as is.</p><p class="paywall">Eddie don’t know how to handle change. And yet is change, emotnal and otherwise, that he mt ntend wh now that Cathere is growg up. And change that he mt answer for: Beatrice wants to know why he no longer touch her or mak her feel like a loved and honored wife. As he turns away om the qutn, Eddie’s neck be a tt strg; his body is pulled the directn of somethg he has no language for. He n’t relate to what is happeng around him. And he n’t relate to his te self, whoever that is.</p><p class="paywall">Still, there are distractns to be had. Two of Beatrice’s s, Mar and Rodolpho (Michael Zegen and Rsell Tovey, both of whom brg an important erotic energy to their rol), arrive om Italy to stay wh the uple. Mar is stute; he wants to earn some money and then return home to his wife and kids. Rodolpho, who is blond and talented and sgle, wants to build a life for himself Ameri. He and Cathere eventually fall love and plan to marry.</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-1 viewport-monor-anchor"></div><p class="paywall">In van Hove’s hands, Miller’s story of ethil betrayal be a story of how bodi look and move a tragedy. One day, Eddie home dnk and fds Rodolpho emergg om Cathere’s bedroom. After orrg Rodolpho to pack and leave, Eddie grabs him, roughly, and kiss him. It’s meant to be a put-down: earlier, he has ma fun of Rodolpho’s sgg and faggy airs. Perhaps this is the sort of thg Rodolpho lik? But may also be a sry breakthrough for Eddie. That Judas kiss betrays so much, cludg himself. Do reveal what Eddie wants to be—embraced by someone who looks not like Beatrice but like himself? The way Strong plays the moments is tertg: you n’t tell whether Eddie sir Rodolpho bee he’s betiful and Eddie is reprsed, or whether he simply intifi wh Cathere and is attracted to what attracts her.</p><p class="paywall">Eddie, as sketched by Miller, is dramaturgilly nfg, bee he’s a textbook Frdian ms: he’s twchy wh too many supprsed impuls and unexamed thoughts that don’t add up. His nrosis feels ls anic than “theatril”—an accumulatn of tics that are meant to give him more prence. But he remas two-dimensnal: he’s a talyst for events, not a ndu for change, cludg his own. Ined, when I saw Gregory Mosher’s tradnal 2010 stagg of the play, starrg Liev Schreiber and Srlett Johansson, I uldn’t que unrstand . Eddie, who was jt another mouthpiece for Miller’s dry moralism, didn’t seem worth the effort around him. But van Hove is a showman. He mak the most of the moments the play when malens as <em>event</em> happens—when Mar, for stance, who is even stronger than Eddie, picks up a heavy chair by the leg wh one hand— orr to show how the old gladiator Eddie’s valu are short-circug this choate new world. Van Hove stuffs the productn wh Pa Bsch-like movement, lightg, and sound cu that sctillate whenever Eddie bor. As Eddie’s rage grows, the stagg be almost operatic. Ined, van Hove treats the text as a kd of libretto, punctuatg Miller’s flat words wh effects, such as the portento beatg of a small dm offstage as Eddie sps more and more out of ntrol, like the antic characters Bsch’s 1975 rendn of Stravsky’s “The Re of Sprg,” another piece about dividualy and the muny. Eventually, Eddie, a vengeful move that’s more than a ltle fluenced by his own ath wish, betrays Rodolpho and Mar to an immigratn officer—an act that leads to his ath a ra of blood.</p><p class="has-dropp has-dropp__lead-standard-headg paywall">Miller himself felt out of ntrol when he started wrg “A View om the Bridge.” In his 1987 memoir, “Timebends,” he relat, rather touchgly, how the seeds for the play were planted the forti, when a iend told him a story about a dockworker who had ratted out two brothers. (Miller often based his plays on stori that other people told him or thgs that he read the newspaper.) In 1951, he ma a trip to Los Angel to work on “The Hook,” a screenplay he was wrg, wh the director Elia Kazan. Through Kazan, he met Marilyn Monroe. Returng home, he uldn’t shake the effect that her emotnal honty and bety had had not only on his stolid middle-class perspective but on his art and his imagatn. (One of Miller’s bgraphers scrib him as beg emotnally nstipated.) The nascent “A View om the Bridge” remaed unfished, as Miller grappled wh the change himself:</p><blockquote class="BlockquoteEmbedWrapper-sc-SdiGL jPeLne paywall blockquote-embed"><div class="BlockquoteEmbedContent-RbGs gmbtPx blockquote-embed__ntent"><p>For I knew my pths that I wanted to disarm myself before the sourc of my art, which were not wife alone nor fay alone but, aga, the sensuons of a female blsg, somethg, seemed, not que of this world. In some dimished sense was sexual hunger, but one that had much to do wh tthfulns to myself and my nature and even, by extensn, to the people who me to my plays. . . . Even after only those few hours wh Marilyn, she had taken on an immanence my imagatn, the valy of a force one do not unrstand but that seems on the verge of lightg up a vast surroundg pla of darkns.</p></div></blockquote><div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--article-mid-ntent" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--article-mid-ntent nsumer-marketg-un__slot---ntent"></div><div class="journey-un"></div></div></div><p class="paywall">It was Miller’s good fortune and bad luck that he had found someone who acted as a gateway to greater tthtellg for him as an artist, but who also mand a gree of attentn that took him away om his wrg and th away om a eper self-examatn. By the time he pleted his one-act versn of “A View om the Bridge,” Miller and Monroe were romantilly volved, but the play still agated him. “Somethg me was disowng the play even as s openg approached,” he wr. “I was turng agast myself, stgglg to put my life behd me, orr and disorr at war me, a kd of parallel of the strs between the play’s formal, ol classicism and the turmoil of ctuo sire and betrayal wh .” It’s not far-fetched to say that the timacy Miller stggl wh the play—the timacy he wants the dience to have wh the characters, the timacy he wants Eddie to have wh himself—was due, part, to the example of Monroe, who drew so much on her own life and feelgs her later rol. Her rawns often led to llapse or hysteria, and ’s that hysteria that sometim emerg “A View om the Bridge,” spe Miller’s attempts to supprs .</p><div class="Contaer-bkChBi byNLHx"></div><p class="paywall">Hysterics, of urse, supply what theatre mands—words driven by emotns. Bloody wh longg and schem, they hope agast hope while never losg their native telligence; whout , their torrent of language would have no stcture. Thk about Maggie tryg to get her hband, Brick, to sleep wh her, Tennsee Williams’s “Cat on a Hot T Roof,” which débuted the same year as “A View om the Bridge.” It’s Maggie’s bld fah her marriage, even when faced wh all the evince—Brick’s alholism and mored homosexual leangs, for starters—and her talk, talk, talk that make her an lible character. In Williams’s 1961 play, “The Night of the Iguana,” T. Lawrence Shannon, a ocked mister dnk on booze and fever, also n’t give up on words, or belief. Part of what the hysteric is cryg out for, wave after verbal wave, is a transformative experience—somethg that nnot be explaed but which will change one’s body and soul and th experience of the world. “Sometim—there’s God—so quickly!” Blanche says, when she fally hs on a b of good fortune, Williams’s 1947 play, “A Streetr Named Dire.”</p><p class="paywall">But ’s fate, not God, that driv Miller’s characters. Miller was averse to a theatril world which emotn and mystery were prevalent. From his ial succs—his first h, “All My Sons,” premièred on Broadway 1947—he was a draw for middle-class men who wanted to see their liv reprented theatre. Epic but real, or, more specifilly, potedly “realistic,” Miller’s male protagonists are, for the most part, good lads who grapple wh the value of their goodns a morally bankpt world. For Miller, that’s God enough.</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><asi class="PersistentAsiWrapper-VGrR daRVRt persistent-asi" style="posn:absolute;top:to;height:to" data-ttid="PersistentAsiWrapper"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="53a5z"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></asi></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="5oa34"></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa bDyAMU body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="paywall">In “To the Actors Performg This Play: On Style and Power,” a 1964 say addrsed to the actors who were stagg the first productn of “Incint at Vichy,” he wrote:</p><blockquote class="BlockquoteEmbedWrapper-sc-SdiGL jPeLne paywall blockquote-embed"><div class="BlockquoteEmbedContent-RbGs gmbtPx blockquote-embed__ntent"><p>Actg has e periloly close to beg a speci of therapy and has moved too far om art. A too great absorptn one’s own feelgs is ordarily lled self-dulgence. . . . It is to be emphasized aga that actg is not a private but a social occupatn.</p></div></blockquote><p class="paywall">But if the great actors of the day, like Kim Stanley, Marlon Brando, Montgomery Clift, and Monroe—who was unfettable her last screen performance, the 1961 film “The Misfs,” wrten by Miller—had put the social rponsibily of art first, would they have ma the mistak and the disveri that make them transcennt poets?</p><p class="paywall">Miller saw the world a grid: good was good, bad was bad, and the gray areas of existence were eher unexplored his work or handled clumsily. This weakns is pecially clear “Incint at Vichy” (directed by Michael Wilson, at the Signature). The play opens Vichy, France, 1942, a tentn center, where we see a group of men stg, wag, but for what? No one says a word until Lebe, a young pater (well played by Jonny Orsi), engag Bayard, an electrician (realized wh passn by Alex Morf), matter-of-fact nversatn:</p><blockquote class="BlockquoteEmbedWrapper-sc-SdiGL jPeLne paywall blockquote-embed"><div class="BlockquoteEmbedContent-RbGs gmbtPx blockquote-embed__ntent"><p>L<em class="small">ebe</em>: Cup of ffee would be nice. Even a sip. You wouldn’t have any ia what’s gog on, would you?</p><p>B<em class="small">ayard</em>: I was walkg down the street.</p><p>L<em class="small">ebe</em>: Me too. Somethg told me—Don’t go outsi today. So I went out. Weeks go by and I don’t open my door. Today I go out. And I had no reason, I wasn’t even gog anywhere.</p></div></blockquote><p class="paywall">Lebe and the rt of the men have no ia why they were picked up by the police: they’re ordary cizens, not pecially polil, and now they fd themselv a land that Kafka might have vented, were not so real. The Gtapo, their efforts to stroy all Jewish verm and to ga ntrol of the regn, are lookg for llaborators who are willg to betray Jews, liberals, and other unsirabl. One by one, the tae are led off to a room, where they’re eher extguished or given papers that allow them to live “eely” a world where there is no eedom. As Miller’s 1953 play, “The Ccible,” his characters hab a muny fed by spicn and promise: who will sell out his brother orr to survive?</p><div data-attr-viewport-monor="le-recirc" class="le-recirc-wrapper le-recirc-observer-target-2 viewport-monor-anchor"></div><p class="paywall">Into this dire suatn walks Von Berg (scerely played by Richard Thomas). An Atrian prce, he is granted immuny by the Nazi officers, but what n his liberty mean when so many others are dyg? Touched by the passn of a prottg fellow-taee, a doctor named Lc (Darren Pettie), Von Berg giv up his pass and agre to stay Lc’s place. Von Berg’s se is disvered, however, and we hear the guards shootg at Lc as we see, above the stage, a projected image of the tra that will no doubt rry Von Berg to the mps and to his ath.</p><p class="paywall">Cse and effect: that was Miller’s primary mo as a playwright. By drawg out the illogic and the unpredictabily “A View om the Bridge,” van Hove stag a kd of gay man’s revenge on that pot of view: gay artists, for the most part, live not a world of clary and logil out but one of acture, which thgs don’t always follow, which they have to pe repeatedly wh the kd of disparagement Eddie exprs when he kiss Rodolpho. Van Hove shows that kiss for what is: the btaly herent unspoken love, the hysteria at the heart of strangled timaci. ♦</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="t0ch3"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 PaywallInleBarrierWhWrapperGrid-fyrGfS kLQIUk grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="body body__le-barrier article__body"><div class="ntaer ntaer--body"><div class="ntaer--body-ner"><asi class="PaywallInleBarrierWrapper-iBnuqk lfXXa-D" data-ttid="PaywallInleBarrierWrapper"><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--paywall-le-barrier" role="prentatn" aria-live="pole" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--paywall-le-barrier"></div><div class="journey-un"></div></div></asi></div></div></div></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ContentWrapperGrid-fvkmBv brYtrA grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="body body__ntaer"><div class="ntaer ntaer--body"><div class="ntaer--body-ner"></div></div></div></div></div></div></article><div class="ContentFooterWrapper-jVNdRG dTJkpP ArticlePageContentFooterGrid-ccsXYy eMZRHU article-body__footer"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><footer class="ContentFooterMagazeDisclaimer-gzKAqo iZIuUU" data-ttid="MagazeDisclaimerWrapper">Published the prt edn of the <a href="/magaze/2015/11/23" data-reactroot="">November 23, 2015</a>, issue.</footer></div></div><div class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"></div></div></div><div class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="ContributorsWrapper-eNpWFu GWFsc ntributors" data-ttid="Contributors"><div class="ContributorBWrapper-bnVHbt gMon"><div class="ContributorBAvatar-bIGTqf eMWbvj"><a href="/ntributors/hilton-als"><span class="SpanWrapper-umhxW jvZaPI rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa rponsive-image"><source media="(max-width: 767px)" srcSet=" 120w, 240w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w" siz="100vw"/><img alt="" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></picture></span></a></div><div class="ContributorBContent-ubQdr jZTSSi"><div class="ContributorBHear-ledood XOIEx"></div><div class="ContributorBB-fBolsO giFhKz"><a href="/ntributors/hilton-als">Hilton Als</a>, a staff wrer at The New Yorker, won the 2017 Pulzer Prize for cricism. He published “<a href=">My Pup</a>,” November, 2022.</div><div class="ContributorBFooter-brqDlv ezUmSv"></div></div></div></div></div></div></div><div class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div data-ttid="TagCloudWrapper" class="TagCloudWrapper-gGgndx ctyZyK ContentFooterTagCloud-krQmRG ZLGh"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudSectnHear-cOforY iUEiRd bPyAoD kQQRmu">More:</span><a href="/tag/a-view-om-the-bridge" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">A View From The Bridge</span></a><a href="/tag/culture" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Culture</span></a><a href="/tag/theatre" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM TagCloudLk-kvjZFu iUEiRd ggMZaT gFob hIhJOI"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TagCloudName-eAUnLd iUEiRd gwIVBQ bUkXwu">Theatre</span></a></div></div></div></div><div data-ttid="ContentFooterBottom" class="ContentFooterBottom-jwWZfC kcbyiW"><div class="ContentFooterNewsletterContentWrapper-bmjtna kixtae"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div data-ttid="NewsletterSubscribeFormWrapper" class="NewsletterSubscribeFormWrapper-fCqqkN jKSBhE newsletter-subscribe-form ContentFooterNewsletterForm-hKeYwa liPqcf"><div data-ttid="NewsletterSubscribeFormHedDekWrapper" class="NewsletterSubscribeFormHedDekWrapper-fpMElW eglIBL"><h3 class="NewsletterSubscribeFormDangeroHed-kRwWjt kbxOa-D newsletter-subscribe-form__hed ContentFooterNewsletterForm-hKeYwa liPqcf">Weekly</h3><div class="NewsletterSubscribeFormDek-kXonvc cKOhTM newsletter-subscribe-form__k">Your gui to the latt magaze and our biggt stori of the week, pl highlights om podsts, humor, and more.</div></div><div data-ttid="NewsletterSubscribeFormInputsWrapper" class="NewsletterSubscribeFormInputsWrapper-keARJE hVWbzr"><form class="form-wh-validatn NewsletterSubscribeFormValidatn-iCYa-Dt dweEln" id="newsletter" name="newsletter" novalidate="" method="POST"><span class="TextFieldWrapper-Pzdqp hNhevp text-field" data-ttid="TextFieldWrapper__email"><label class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TextFieldLabel-klrYvg iUEiRd stdEm fvoOvz text-field__label text-field__label--sgle-le" for="newsletter-text-field-email" data-ttid="TextFieldLabel__email"><div class="TextFieldLabelText-cvvxBl eeDYTb">E-mail addrs</div><div class="TextFieldInputContaer-jcMPhb oFrOs"><put type="email" aria-scribedby="privacy-text" aria-valid="false" id="newsletter-text-field-email" required="" name="email" placeholr="E-mail addrs" class="BaseInput-fAzTdK TextFieldControlInput-eFUxkf eGzzTT lglhcT text-field__ntrol text-field__ntrol--put" data-ttid="TextFieldInput__email"/></div></label><button class="BaseButton-bLlsy ButtonWrapper-xCepQ bqVKKv dwpimO button button--utily TextFieldButton-csBrgY edxbrw" data-event-click="{"element":"Button"}" data-ttid="Button" type="subm"><span class="ButtonLabel-cjAuJN hzwRuG button__label">Sign up</span></button></span><div id="privacy-text" tabx="-1" class="NewsletterSubscribeFormDisclaimer-bTVtiV bsgLJZ"><span><p>By signg up, you agree to our <a href=" rel="nofollow noopener noreferrer" target="_blank">User Agreement</a> and <a href=" rel="nofollow noopener noreferrer" target="_blank">Privacy Policy & Cookie Statement</a>. 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srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="Liv Limbo" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k">Illns and lns Arthur Miller and Tennsee Williams.</div><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By 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