By Papaihanassiu A.E., Green S.J., Grella D.K.
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In the Atlantic, he said, “I’ve always thought ... ” Albee, then, shares with most American playwrights an idea of the utility of art, the supposition not only that art should convey truth, but that it should do so to some purpose. There is a strong strain of didacticism in all his work, but it is balanced by a certain ambiguity about the nature of the instructive fable. In interviews, he harps on how much of the creative process is subconscious, how little he understands his own work, how a play is to be experienced rather than understood.
That turned Albee into a popular ﬁgure, and certainly the publicity surrounding the making of the movie version of Woolf helped to keep Albee’s name in the popular magazines. Whatever the cause, Edward Albee: Don’t Make Waves 23 Albee is now the American playwright whose name has become a touchstone, however ludicrously it is used. Thus, Thomas Meehan, writing an article on “camp” for The New York Times Magazine (March 21, 1965), solicits Andy Warhol’s opinion of Tiny Alice (“I liked it because it was so empty”), and William H.
My own reviews, from The Zoo Story (The Reporter, February 16, 1961) to Everything in the Garden (The Reporter, December 28, 1967), have suggested with a decreasing amount of ﬂippancy that there is less to Albee than meets the eye. Although my review of Virginia Woolf (Drama Survey, Fall, 1963) now seems unnecessarily condescending, my general misgivings about Albee as a playwright have not disappeared. What has disappeared, alas, is a letter that Albee sent to The Reporter to straighten me out after my review of The Zoo Story.