In discussing the plays he wrote while a student at the University of Michigan, Miller mentions "using members of my family as models" and spending "many weekends visiting Jackson State penitentiary" for another (
Timebends 91).
Reminiscing about Monroe in his 1987 autobiography,
Timebends: A Life, Miller lamented that she was rarely taken seriously as anything but a sex symbol.
By the device of his publishing a huge autobiography in 1987,
Timebends, he created a large haystack in which scholars can spend their lifetimes searching for various hidden needles.
Of course, Arthur Miller himself has written his life: this was
Timebends in 1987.
(14.) Arthur Miller,
Timebends: A Life (London: Methuen, 1987), p.
(21) Returning to the trials in his autobiography,
Timebends, he wrote: 'Maybe the problem with identifying the universals in the Nazi condition was precisely that power and stupidity were so commonly joined in the world that there was something unremarkable about it, something lacking in explosive illumination.' (22) In the debates that followed the trials Miller became, as Isser recalls, 'firmly identified with the Bettelheim/Arendt/McCarthy camp' (p.
Miller concludes his 1987 autobiography
Timebends by observing: "We are all connected, watching one another.
At the conclusion of his 1987 autobiography,
Timebends, Arthur Miller contemplates coyotes lurking in the dark woods outside his Connecticut home: "I am a mystery to them until they tire of it and move on, but the truth, the first truth, probably, is that we are all connected, watching one another.
His autobiography,
Timebends, was published in 1987.
In fact, Miller titled his memoirs
Timebends," and he concludes the 600page autobiography with the story of his forest.
In 1986, Roy Dotrice starred Off Broadway in Miller's adaptation of Ibsen's "An Enemy of the People." In 1987, Miller published his autobiography, "
Timebends."
For Miller, literature, and particularly the theater, must "speak to the present condition of man's life and thus would implicitly have to stand against injustice as the destroyer of life" (
Timebends 596).
Miller takes pride in the veracity of his 1987 autobiography, "
Timebends," as opposed to Lillian Hellman's tendency to "write fiction and call it fact." Defining Group Theater colleague Harold Clurman, he calls him "a spieler" who enchanted performers with acting lectures even though nobody could repeat a word he said.
