Three of the greatest plays in American literature collected in one volume
This important new omnibus edition features an illuminating foreword by playwright John Guare and an extensive afterword for each play drawing on unpublished letters and other unique documentary material prepared by Tappan Wilder.
Our Town—Wilder's timeless 1938 Pulitzer Prize-winning look at love, death, and destiny is celebrated around the world and performed at least once each day in the United States.
The Skin of our Teeth—Wilder's 1942 romp about human follies and human endurance starring the Antrobus family of Excelsior, New Jersey. Winner of the Pulitzer Prize for Drama in 1943.
The Matchmaker—Wilder's brilliant 1954 farce about money and love starring that irrepressible busybody Dolly Gallagher Levi. This play inspired the Broadway musical Hello, Dolly!.
About the Author
Thornton Wilder (1897-1975) was an accomplished novelist and playwright whose works, exploring the connection between the commonplace and cosmic dimensions of human experience, continue to be read and produced around the world. His Bridge of San Luis Rey, one of seven novels, won the Pulitzer Prize in 1928, as did two of his four full-length dramas, Our Town (1938) and The Skin of Our Teeth (1943). Wilder's The Matchmaker was adapted as the musical Hello, Dolly!. He also enjoyed enormous success with many other forms of the written and spoken word, among them teaching, acting, the opera, and films. (His screenplay for Hitchcock's Shadow of Doubt  remains a classic psycho-thriller to this day.) Wilder's many honors include the Gold Medal for Fiction from the American Academy of Arts and Letters, the Presidential Medal of Freedom, and the National Book Committee's Medal for Literature.
Read an Excerpt
By Thornton Wilder
Toward the end of the twenties I began to lose pleasure in going to the theatre. I ceased to believe in the stories I saw presented there. When I did go it was to admire some secondary aspect of the play, the work of a great actor or director or designer. Yet at the same time the conviction was growing in me that the theatre was the greatest of all the arts. I felt that something had gone wrong with it in my time and that it was fulfilling only a small part of its potentialities. I was filled with admiration for presentations of classical works by Max Reinhardt and Louis Jouvet and the Old Vic, as I was by the best plays of my own time, like Desire Under the Elms and The Front Page; but it was with a grudging appreciation, for I didn't believe a word of them. I was like a schoolmaster grading a paper; to each of these offerings I gave an A+, but the condition of mind of one grading a paper is not that of one being overwhelmed by an artistic creation. The response we make when we "believe" a work of the imagination is that of saying: "This is the way things are. I have always known it without being fully aware that I knew it. Now in the presence of this play or novel or poem (or picture or piece of music) I know that I know it." It is this form of knowledge which Plato called "recollection." We have all murdered, in thought; and been murdered. We have all seen theridiculous in estimable persons and in ourselves. We have allknown terror as well as enchantment. Imaginative literature hasnothing to say to those who do not recognize-who cannot bereminded --- of such conditions. Of all the arts the theatre isbestendowed to awaken this recollection within us-to believe is tosay "yes"; but in the theatres of my time I did not feel myselfprompted to any such grateful and self-forgetting acquiescence.
This dissatisfaction worried me. I was not ready to condemn myself as blase and overfastidious, for I knew that I was stiff capable of belief. I believed every word of Ulysses and of Proust and of The Magic Mountain, as I did of hundreds of plays when I read them. It was on the stage that imaginative narration became false. Finally, my dissatisfaction passed into resentment. I began to feel that the theatre was not only inadequate, it was evasive; it did not wish to draw upon its deeper potentialities. I found the word for it: it aimed to be soothing. The tragic had no heat; the comic had no bite; the social criticism failed to indict us with responsibility. I began to search for the point where the theatre had run off the track, where it had chosen-and been permitted-to become a minor art and an inconsequential diversion.
The trouble began in the nineteenth century and was connected with the rise of the middle classes -- they wanted their theatre soothing. There's nothing wrong with the middle classes in themselves. We know that now. The United States and Scandinavia and Germany are middle-class countries, so completely so that they have lost the very memory of their once despised and ludicrous inferiority (they had been inferior not only to the aristocracy but, in human dignity, to the peasantry).
When a middle class is new, however, there is much that is wrong with it. When it is emerging from under the shadow of an aristocracy, from the myth and prestige of those well-born Higher-ups, it is alternately insecure and aggressively complacent. It must find its justification and reassurance in making money and displaying it. To this day, members of the middle Classes in England, France, and Italy feel themselves to be a little ridiculous and humiliated. The prestige of aristocracies is based upon a dreary untruth that moral superiority and the qualifications for leadership are transmittable through the chromosomes, and the secondary he, that the environment afforded by privilege and leisure tends to nurture the flowers of the spirit. An aristocracy, defending and fostering its he, extracts from the arts only such elements as can further its interests, the aroma and not the sap, the grace and not the trenchancy. Equally harmful to culture is the newly arrived middle class. In the English-speaking world the middle classes came into power early in the nineteenth century and gained control over the theatre. They were pious, law-abiding, and industrious. They were assured of eternal life in the next world and, in this, they were squarely seated on Property and the privileges that accompany it. They were attended by devoted servants who knew their place. They were benevolent within certain limits, but chose to ignore Aide tracts of injustice and stupidity in the world about them; and they shrank from contemplating those elements within themselves that were ridiculous, shallow, and harmful. They distrusted the passions and tried to deny them. Their questions about the nature of fife seemed to be sufficiently answered by the demonstration of financial status and by conformity to some clearly established rules of decorum. These were precarious positions; abysses yawned on either side. The air was loud with questions that must not be asked. These audiences fashioned a theatre which could not disturb them. They thronged to melodrama (which deals with tragic possibilities in such a way that you know from the beginning that all will end happily) and to sentimental drama (which accords a total license to the supposition that the wish is father to the thought) and to comedies in which the characters were so represented that they always resembled someone else and not oneself Between the plays that Sheridan wrote in his twenties and the first works of Wilde and Shaw there was no play of even moderate interest written in the English language. (Unless you happen to admire and except Shelley's The Cenci.) These audiences, however, also thronged to Shakespeare. How did they shield...
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