Paper 108: Between Life and Stage: A Comparative Study of Autobiographical Elements in 'Long Day’s Journey Into Night' and 'After the Fall'

This blog is a part of the assignment of Paper 108: The American Literature

Between Life and Stage: A Comparative Study of Autobiographical Elements in 'Long Day’s Journey Into Night' and 'After the Fall'

{getToc} $title={Table of Contents} $count={false}

Academic Details:

Name: Rajdeep A. Bavaliya
Roll No.: 21
Enrollment No.: 5108240006
Sem.: 2
Batch: 2024-26
E-mail: rajdeepbavaliya2@gmail.com

Assignment Details:

Paper Name: The American Literature
Paper No.: 108
Paper Code: 22401
Unit: 1 - Eugene O’Neill’s 'Long Day’s Journey into Night'
Topic: Between Life and Stage: A Comparative Study of Autobiographical Elements in 'Long Day’s Journey Into Night' and 'After the Fall'
Submitted To: Smt. Sujata Binoy Gardi, Department of English, Maharaja Krishnakumarsinhji Bhavnagar University
Submitted Date: April 17, 2025

The following information—numbers are counted using QuillBot:

Images: 4
Words: 4437
Characters: 30235
Characters without spaces: 25953
Paragraphs: 159
Sentences: 318
Reading time: 17m 45s

Abstract:

This study examines the interplay between autobiographical content and dramatic form in Eugene O’Neill’s 'Long Day’s Journey Into Night' and Arthur Miller’s 'After the Fall.' By analyzing how memory, family dynamics, and personal trauma are dramatized, the research reveals contrasting narrative strategies: O’Neill’s somber, unified narrative that confronts inescapable familial tragedy versus Miller’s fragmented structure that explores guilt, redemption, and self-reconciliation. The findings demonstrate that the transformation of personal suffering into dramatic art not only reshapes individual history but also creates a universal language of catharsis and renewal in American theater. This comparative inquiry contributes nuanced insights into the broader implications of autobiographical drama for understanding the complex relationship between life and stage.

Keywords:

Autobiographical Drama, Memory, Trauma, American Theater, Long Day’s Journey Into Night, Eugene O’Neill, After the Fall, Arthur Miller, Familial Dynamics, Artistic Transformation, Redemption, Identity.

Research Question:

How do the autobiographical elements in 'Long Day’s Journey Into Night' and 'After the Fall' mediate the interplay between personal trauma, memory, and artistic creation in American theater?

Hypothesis:

Autobiographical elements in both 'Long Day’s Journey Into Night' and 'After the Fall' transform personal trauma into a vehicle for artistic expression, enabling each playwright to reframe individual anguish within a universal narrative of memory and identity.

1. Introduction

Eugene O’Neill
Image Source: Eugene O’Neill/Wikimedia Commons

First edition 1956
Image Source: Long Day's Journey Into Night/Wikimedia Commons

Arthur Miller’s 'After the Fall'
Image Source: After the Fall/Amazon.com/‎Bantam Books

Miller in 1966
Image Source: Arthur Miller/Wikimedia Commons

Autobiography on stage is not a simple recitation of factual events; rather, it is the alchemical transformation of personal memory into dramatic art. In 'Long Day’s Journey Into Night' and 'After the Fall,' the playwrights—Eugene O’Neill and Arthur Miller—undertake this transformation by interweaving personal trauma with theatrical innovation. O’Neill’s play has long been regarded as a “profoundly autobiographical” work that delves into the depths of family dysfunction, haunted by grief and regret, while Miller’s 'After the Fall' offers a more ambivalent self-examination as he confronts both personal guilt and the burden of public expectation. This paper aims to explore the ways in which both dramatists channel their personal histories into creative practice, and how their respective treatments of family, memory, and trauma reflect broader inquiries into the nature of identity and artistic truth.

2. The Nature of Autobiographical Drama

2.1. Theoretical Foundations and Artistic Shaping

Autobiographical drama is not a mere verbal autobiography. It involves the deliberate shaping of lived experience into a dramatic form—a process that inherently involves selection, transformation, and artistic license. As noted by several critics, dramatists “choose, change, and arrange” their autobiographical material so that it becomes not just an account of life, but an “artistic event” imbued with emotional resonance and symbolic meaning. This process is foregrounded in O’Neill’s approach, wherein personal traumas—such as the loss of family members and the struggles with identity—are reconstituted as elements of dramatic structure. Almas’s remark that—

“the past in this play shows that it has tremendous influence on character and action”

(Almas)

—underscores how O’Neill’s personal memories are not simply recounted but are distilled into a dramatic essence that informs every gesture and dialogue.

Likewise, Miller’s approach in 'After the Fall' reflects an understanding that autobiography must be refracted through the prism of artistic creation. Miller famously challenges the notion of autobiographical fidelity in his work, as Brietzke suggests that—

“biography, in the end, is a launching pad for an artistic event which may or may not bear resemblance to anyone's actual life.”

(Brietzke)

In both cases, the dramatists engage in a process that is as much about transforming personal pain into cathartic performance as it is about narrating life events. This theoretical stance is central to understanding how the plays function on dual levels—as representations of historical subjectivity and as crafted aesthetic objects.

2.2. Memory, Trauma, and the Creative Imagination

Memory in autobiographical drama is seldom linear or neatly partitioned. Instead, as both plays reveal, it is marked by a complex intermingling of recollection, repression, and reinterpretation. O’Neill’s dramatic construction, for instance, is steeped in the idea that—

“O’Neill’s concern with the past is obviously right from the beginning of his play 'Long Day’s Journey into Night.'”

(Almas)

The narrative structure of the play—focusing on a single, eventful day—serves as a container for years of familial strife, illustrating how the playwright compresses expansive personal histories into a concentrated dramatic moment.

Similarly, Miller’s work is characterized by the juxtaposition of disparate memories and moments that lack a conventional narrative connection. In 'After the Fall,' Miller “revisited and re-examined” moments from his past to form a mosaic of guilt, regret, and ultimately, redemption (Dominik). The interplay of memory and trauma in these plays is not simply an exploration of psychological states; it also serves to forge a connection between the inner life of the dramatist and the external world of the stage. As Miller observes,

“the plays are my autobiography. I can’t write plays that don’t sum up where I’m in all of them”

(Bigsby)

—suggesting that for these artists, personal experience is inseparable from creative output.

3. Autobiographical Elements in 'Long Day’s Journey Into Night'

3.1. Structural Unity and Temporal Compression

'Long Day’s Journey Into Night' is often celebrated for its structural unity and the way it encapsulates an entire lifetime of emotional experience within a single day. O’Neill’s choice to restrict the narrative to one day, while simultaneously evoking many years of memory, is a deliberate strategy to highlight the timeless nature of familial trauma. As one critic notes,

“a few hours of acting shown upon the stage are meant to enclose many years of past time in the Tyrones’ lives.”

(Almas)

This compression of time not only intensifies the dramatic tension but also mirrors the manner in which traumatic memory tends to resurface unexpectedly—often in moments that seem to confound the linear progression of time.

Furthermore, the setting—the Tyrone summer home—functions as a physical and symbolic repository of memory. It is in this familiar yet suffused environment that the characters’ personal histories are laid bare. The detailed staging, including the specific placement of objects such as the small bookcase that—

“contains books which influence Edmund or O’Neill’s thinking”

(Almas)

—further underscores the interrelation between the past and the present. The physical space is thereby transformed into a dynamic canvas upon which the autobiographical narrative is continuously inscribed and re-inscribed.

3.2. Characterization as a Mirror of the Self

One of the most striking aspects of O’Neill’s drama is the way in which its characters serve as surrogates for different facets of the playwright’s own identity. Edmund, in particular, emerges as a complex reflection of O’Neill’s inner self. Initially described as “mama's baby, papa's pet” (Almas), Edmund ultimately undergoes a transformation that suggests the possibility of self-awareness and artistic illumination. As stated by one commentator,

“Edmund endures the most, understands the most, and profits the most.”

(Almas)

This evolution is emblematic of O’Neill’s attempt to reconcile his own fragmented identity and to forge a path toward personal absolution through the medium of drama.

Additionally, other characters, such as James Tyrone and Mary Tyrone, are not merely external figures but are imbued with the complexities of O’Neill’s familial experiences. James is portrayed as a man whose “avarice and self-centeredness” mirror the failures of paternal authority, while Mary is rendered as a figure consumed by her own tragic vulnerabilities. The interplay of these character dynamics underscores the central theme of alienation—both from the self and from one another. In crafting these relationships, O’Neill lays bare his own struggle with identity and the bitter legacy of familial dysfunction.

3.3. The Therapeutic Function of Drama

For O’Neill, the act of writing 'Long Day’s Journey Into Night' represents a form of self-therapy—a bold confrontation with the traumas that have defined his life. The dedication of the play to Carlotta, in which he confesses that it was “written in tears and blood” (Manheim), reinforces the notion that the creative process is both cathartic and redemptive. Through the re-enactment of familiar familial dynamics, O’Neill not only revisits his own emotional scars but also offers a subtle critique of the forces—be they economic, social, or psychological—that have rendered his family dysfunctional. As one analysis points out,

“O’Neill used the name of a dead brother… as the namesake of his own persona”

(McDonald)

—a stark reminder that the personal is never wholly separate from the artistic.

Thus, 'Long Day’s Journey Into Night' embodies a dialectic between fatalism and possibility. While the past exerts an inexorable influence on the characters—a point emphasized by O’Neill’s own recollections—it is through the deliberate act of dramatic re-creation that a semblance of resolution emerges. By staging the inescapable pull of memory, the play demonstrates how art can serve as both a mirror and a vehicle for transformation.

4. Autobiographical Elements in 'After the Fall'

4.1. Re-envisioning Personal Guilt and Public Persona

Arthur Miller’s 'After the Fall' occupies a complex space in the realm of autobiographical drama. Unlike O’Neill’s overtly expository recounting of familial decay, Miller’s work is marked by a more introspective and self-critical tone. Central to the play is the figure of Quentin—Miller’s author surrogate—through whom the dramatist meditates on his own culpability and the burden of celebrity. Miller’s willingness to—

“absolve himself of the death of Marilyn Monroe”

(Suson)

—not only speaks to his personal need for atonement but also reflects a broader thematic preoccupation with the corrosive effects of fame and the impossibility of recovering one’s innocence.

In this regard, Miller’s narrative strategy is both confessional and interrogative. He challenges the audience to confront the dissonance between the public persona and the private self. As Suson remarks,

“Miller directly challenges vanity… by pointing out the injustice in Edmund’s decision to wallow in self-pity for the sake of art.”

(Suson)

Through this confrontation, the play establishes a critical dialogue about the nature of self-representation—one that is as much about exposing personal failings as it is about reasserting the capacity for self-redemption.

4.2. The Fragmentation of Memory and Narrative Structure

Memory in 'After the Fall' is presented in a fragmented, non-linear fashion—a stark departure from the chronological coherence of O’Neill’s work. Miller’s dramatization of memory is akin to an impressionistic mosaic, wherein moments of clarity and obfuscation coexist. This fragmented structure reflects the inherent instability of personal recollection and the difficulty of reconciling conflicting narratives of the past. As Dominik observes, moments that occur—

“years apart and have no seemingly logical connection are juxtaposed by memory.”

(Dominik)

In doing so, Miller not only mirrors the disjointed nature of personal history but also highlights the way in which trauma disrupts the coherence of one’s life story.

The play’s structure serves to underscore this thematic preoccupation. By oscillating between past and present—and by interspersing critical self-reflection with vivid dramatic monologues—'After the Fall' invites the audience to participate in a reconstruction of memory that is as tentative as it is urgent. Miller’s technique of using narrative disjunction is not an evasion but a deliberate artistic choice that reveals the psychic fragmentation underlying the autobiographical account. The resultant effect is a work that is both deeply personal and resonant with broader questions of identity, time, and self-forgiveness.

4.3. Self-Critique and the Possibility of Redemption

While both plays are steeped in personal history, Miller’s 'After the Fall' is distinguished by its overt concern with moral responsibility. The introspection of Quentin, as he grapples with the consequences of his actions and his complicity in a broader social milieu, forms the emotional core of the play. His journey is one of reluctant recognition, as he comes to terms with the “private and public guilt” that has long haunted him (Dominik). This dynamic is further complicated by the presence of secondary characters—such as Maggie and Holga—who embody alternative pathways to self-forgiveness or, conversely, to further self-destruction.

In one of the play’s pivotal moments, Quentin’s transformation is signaled by his shift away from self-aggrandizement toward a more tempered awareness of his own fallibility. As observed by critics,

“Miller redefines himself as a playwright of perseverant optimism”

(Suson)

—despite the lingering echoes of past mistakes. This redemptive arc is not presented as a neat resolution but as an ongoing struggle—a recognition that the process of self-reconciliation is fraught and incomplete. Miller’s narrative, thus, provides a counterpoint to O’Neill’s resigned acceptance of tragedy. Whereas O’Neill’s characters seem doomed to repeat their familial fate, Miller’s work hints at the possibility of change through the painful act of self-examination.

5. Comparative Analysis: Confronting the Past Through Theatrical Expression

5.1. Similarities in Thematic Concerns

A close examination of both plays reveals a shared preoccupation with memory, trauma, and the inexorable pull of the past. Both O’Neill and Miller draw on intensely personal experiences to expose the underlying vulnerabilities of human existence. As one commentator succinctly states,

“both Eugene O’Neill’s 'Long Day’s Journey into Night' and Arthur Miller’s 'After the Fall' mark distinct changes in the playwrights’ respective writing styles.”

(Suson)

Despite stylistic differences, the thematic core of these works centers on the idea that one’s past—no matter how painful—is inescapably interwoven with one’s identity.

Another significant similarity lies in the use of author surrogates. In 'Long Day’s Journey Into Night,' Edmund represents the internal struggle of O’Neill’s persona, while in 'After the Fall,' Quentin serves a similar function for Miller. Through these figures, both dramatists externalize the inner conflicts that arise from reconciling personal history with artistic creation. The use of surrogates not only heightens the autobiographical intensity of the plays but also allows the audience to witness an intimate dialogue between the self and its projections.

5.2. Divergences in Narrative Tone and Resolution

While both plays share common thematic concerns, their tonal qualities and narrative trajectories diverge significantly. O’Neill’s work is often characterized by a pervasive atmosphere of despair and resignation. The relentless recurrence of past traumas in 'Long Day’s Journey Into Night' is depicted as an inescapable burden—a “long journey” in which the characters remain trapped by their own memories. As one scholar notes,

“O’Neill’s plays dramatise memory as traumatized experience that continues to appear belatedly and shatter the life of the concerned in the present.”

(Karim)

In contrast, 'After the Fall' embodies a more ambivalent tone. Although Miller does not completely extricate himself from the shadow of guilt or pain, his work is suffused with a tentative hope for renewal. This difference is most evident in the concluding moments of each play. Whereas O’Neill’s narrative ends with a sense of fatalistic reconciliation with the past, Miller’s conclusion gestures toward the possibility of transformation—even if that transformation is fraught with uncertainty. As Miller himself intimates, the resolution of personal trauma does not lie in the outright erasure of memory but in the compassionate acknowledgment of its enduring impact (Suson).

5.3. The Role of the Family and Intergenerational Trauma

Family, in both plays, emerges as a crucible for the transmission of trauma and the site of irrevocable loss. In 'Long Day’s Journey Into Night,' the Tyrone family is portrayed as a microcosm of inescapable grief and dysfunction. The characters—James, Mary, Edmund, and Jamie—are not only individual representations of personal failings but also collective embodiments of a legacy of pain. O’Neill uses the familiar dynamics of family life to explore how personal history, once internalized, continues to inform every aspect of existence. The echo of past mistakes, the weight of unspoken resentments, and the inevitability of fate converge in a dramatic tableau that leaves little room for hope (Karim).

Similarly, Miller’s portrayal of family dynamics in 'After the Fall' interrogates the intergenerational dimensions of trauma. However, Miller’s approach is more explicitly critical. By recounting episodes that expose the tenuous links between memory and identity, Miller reveals how family history can both define and confine an individual. His exploration of familial relationships is not presented merely as a nostalgic recollection but as an active site of conflict where personal guilt and the desire for absolution collide. For instance, Miller’s reimagining of past events—such as the recollection of a “sad, defeated old man” in James Tyrone’s character in O’Neill’s work, or the use of melancholic reminders of lost innocence in Quentin’s narrative—highlights the constant negotiation between remembering and reinventing the past (Karim; McDonald).

6. Critical Perspectives and Scholarly Debates

6.1. Interpreting Autobiography in Dramatic Form

Scholars have long debated the extent to which autobiographical elements in these plays should be read as straightforward personal confession versus as a complex dramaturgical strategy. Critics have argued that 'Long Day’s Journey Into Night' is a volume of specially commissioned essays in which O’Neill not only recounts his family history but also reinterprets it through a creative lens that distances him from his own pain. In contrast, Miller’s self-representations in 'After the Fall' are often seen as a more direct form of confession—a raw exploration of guilt and self-reproach that leaves little doubt about the personal stakes involved (Suson; Isaac).

This divergence has important implications for how we understand the relationship between life and art in the two plays. O’Neill’s fusion of the personal and the universal suggests that the very act of artistic creation can lead to a kind of catharsis—a liberation from the deterministic grip of memory. Conversely, Miller’s insistence on the inescapability of guilt implies that art, while transformative, does not necessarily offer complete redemption. As one critic encapsulated, points to an ongoing struggle with the self that resists neat closure (Bigsby).

6.2. The Critics on Memory and Trauma

A substantial portion of the scholarly literature on these plays is devoted to the exploration of memory’s disruptive effects. For example, Faiz contends that—

“'Long Day’s Journey into the Night' is Eugene O’Neill’s autobiographic drama, that was published posthumously and won different awards”

(Faiz)

—emphasizing the interplay between personal memory and broader cultural narratives of trauma. Similarly, Karim’s extensive analysis reveals that memory "has a pivotal role in O’Neill’s dramatic art," noting that the remembrance is charged with a “traumatic effect” that pervades every aspect of the play (Karim). By situating memory as both a creative resource and a source of inexorable suffering, these critics help to clarify why the autobiographical impulse in drama remains so compelling and enduring.

Scholars such as Schlatter and McDonald further enrich this debate by examining the ways in which family dynamics and personal loss function as both sources of creative inspiration and as sites of perpetual anguish. Schlatter, for instance, discusses how critics—

“examine the same excruciating ambivalence that drives writers such as O’Neill and Williams”

(Schlatter)

—thereby linking the personal dimensions of autobiography with broader artistic concerns about loneliness and spiritual searching. McDonald’s observations on the use of personal names and familial identity in 'Long Day’s Journey Into Night' contribute yet another layer to our understanding of how autobiographical elements are dramatized, suggesting that the very structure of the play is an attempt to “face my dead at last” (McDonald).

7. Synthesis: Life, Memory, and the Transformative Power of the Stage

7.1. Bridging the Personal and the Universal

Both O’Neill and Miller demonstrate that the process of transforming personal trauma into drama involves a delicate negotiation between the particular and the universal. On one level, the plays offer an intimate glimpse into the lives of their respective authors, revealing raw emotions and unsparing self-scrutiny. On another level, however, the dramatization of personal events assumes a universal quality—an appeal to the audience’s own experiences of loss, guilt, and the search for redemption. As Miller’s voice summarizes,

“the plays are my autobiography. I can’t write plays that don’t sum up where I’m in all of them”

(Bigsby)

—reinforcing the idea that personal history inevitably shapes, and is shaped by, the communal act of storytelling on stage.

Through the reimagining of personal histories, both dramatists use the stage as a site where life is continuously reinterpreted. O’Neill’s meticulous staging of the Tyrone family’s summer home and the recurring motifs of memory and loss create an environment in which the personal becomes an object of public inquiry. Similarly, Miller’s fragmented narrative in 'After the Fall' challenges traditional linearity, inviting the audience to piece together a collage of feelings and memories that, taken together, form a new, if tentative, identity. This synthesis of the personal with the universal underscores the transformative potential of autobiographical drama: by exposing the raw contours of their own lives, both O’Neill and Miller offer a path toward healing and, ultimately, artistic liberation.

7.2. The Dramatic Implications of Personal Epiphany

At its core, the blending of autobiography with theatrical expression is not merely an act of confession—it is also an affirmation of the power of art to transmute personal pain into a shared aesthetic experience. O’Neill’s declaration that—

“the past is present, isn’t it? It is the future, too. We all try to lie out of that but life won’t let us”

(O’Neill)

—poignantly encapsulates this notion. Through the cathartic process of writing and staging his drama, O’Neill finds a way to navigate the inescapable burdens of memory, while inviting the audience to confront their own histories. Miller, for his part, uses 'After the Fall' as a platform to question not only his personal legacy but also the broader expectations placed upon playwrights who dare to lay bare their inner lives. His portrayal of Quentin—as an everyman caught between remorse and the possibility of self-forgiveness—demonstrates that while the past may haunt, it can also serve as a catalyst for growth and renewal (Suson).

The dramatic tension that arises from this interplay of memory and transformation is central to both plays. It is this tension that gives the work its emotional depth and lasting resonance. By confronting their pasts head-on, both O’Neill and Miller challenge the conventional boundaries between life and art, ultimately suggesting that true artistic creation lies in the capacity to transform personal affliction into a collective expression of human vulnerability.

8. Conclusion

In comparing 'Long Day’s Journey Into Night' and 'After the Fall,' it becomes clear that while both plays are deeply rooted in the personal experiences of their creators, they offer divergent visions of what it means to live with—and ultimately transcend—one’s past. O’Neill’s work is a stark, unflinching meditation on the inescapable burdens of memory and familial dysfunction, rendered through a meticulously unified dramatic structure that compresses years of pain into the span of one day. In contrast, Miller’s play is marked by a more reflective and, at times, ambivalent tone, suggesting that while personal trauma may never be fully erased, the creative act itself has the power to transform guilt and regret into a new understanding of self.

Both dramatists use autobiographical elements not simply as fodder for personal confession but as vital ingredients in their dramatic reimagining of life. By integrating personal experience with a sophisticated theatrical vision, O’Neill and Miller demonstrate that the stage is a unique space where the contradictions of human existence—memory and forgetting, pain and redemption—can be openly interrogated and, ultimately, reconfigured. Through the careful calibration of narrative structure, characterization, and symbolic detail, they offer audiences a profound reminder that the past, however laden with sorrow, is also an essential component of creative rebirth. In this way, their plays serve as both memorial and manifesto, testifying to the enduring power of art to transform lived experience into a source of collective understanding.

Taken together, the comparative study of these two plays underscores the dual role of autobiographical drama: it is at once a mirror reflecting the intimate realities of the author’s life and a transformative space where personal suffering is transmuted into art. The intermingling of personal memory with dramatic form—as evidenced by the rich tapestry of quotes and critical insights provided by scholars such as Almas (“The past in this play shows that it has tremendous influence on character and action”), Brietzke (“biography, in the end, is a launching pad for an artistic event”), Faiz, Karim, Manheim, Suson, Bigsby, Dominik, Isaac, McDonald, and Schlatter—attests to the complexity of this artistic endeavor. In embracing both the agony and the beauty inherent in their pasts, O’Neill and Miller invite us to reconsider the very relationship between life and stage, ultimately suggesting that it is through the courageous act of self-exposure—and its subsequent transformation on stage—that the human spirit finds its most authentic expression.

References:

Almas, Kamal. “The Role of the Past in Eugene O’Neill’s Long Day’s Journey into Night.” Swift Journal of Social Science and Humanities, vol. 2, no. 2, May 2016, pp. 022–30. Swift Journal, www.swiftjournals.org/sjssh/abstract/2016/may/Kamal.php.

Bigsby, Christopher, editor. The Cambridge Companion to Arthur Miller. Cambridge UP, 2010.

Brietzke, Zander. “Too Close for Comfort: Biographical Truth in ‘Long Day’s Journey Into Night.’” The Eugene O’Neill Review, vol. 25, no. 1/2, 2001, pp. 24–36. JSTOR, www.jstor.org/stable/29784707.

Dominik, Jane K. “Before and After the Fall.” The Arthur Miller Journal, vol. 9, no. 1–2, 2014, pp. 1–16. JSTOR, www.jstor.org/stable/10.5325/arthmillj.9.1-2.1.

Faiz, Tanzila. “An Analysis of Eugene O’Neil’s Play ‘Long Day’s Journey Into Night’ With Reference to Sigmund Freud’s Theory of Defense Mechanism.” Medium, 13 Jan. 2024, tanzeelafaiz.medium.com/an-analysis-of-eugene-oneil-s-play-long-day-s-journey-into-night-with-reference-to-sigmund-7b94facb5f0d.

Isaac, Dan. “Founding Father: O’Neill’s Correspondence with Arthur Miller and Tennessee Williams.” The Eugene O’Neill Review, vol. 17, no. 1/2, 1993, pp. 124–33. JSTOR, www.jstor.org/stable/29784493.

Karim, Asim. “Trauma of Subjective Memory in Strange Interlude and Long Day’s Journey Into Night.” Asian Social Science, vol. 6, no. 9, Sept. 2010, pp. 156–67. CCSENET, https://doi.org/10.5539/ass.v6n9p156.

Manheim, Michael, editor. The Cambridge Companion to Eugene O’Neill. Cambridge UP, 1998.

McDonald, David. “The Phenomenology of the Glance in ‘Long Day’s Journey into Night.’” Theatre Journal, vol. 31, no. 3, 1979, pp. 343–56. JSTOR, doi.org/10.2307/3219339.

Miller, Arthur. After the Fall. Bloomsbury Publishing, 2022.

O’Neill, Eugene. Long Day’s Journey Into Night: Multimedia Edition. Yale UP, 2016.

Schlatter, James F. “Some Kind of a Future: The War for Inheritance in the Work of Three American Playwrights of the 1970s.” South Central Review, vol. 7, no. 1, 1990, pp. 59–75. JSTOR, doi.org/10.2307/3189214.

Suson, Serena. “Rediscovery in Long Day’s Journey into Night and After the Fall.” Journeys Dartmouth, journeys.dartmouth.edu/serenaesuson25/rediscovery-in-long-days-journey-into-night-and-after-the-fall. Accessed 13 Apr. 2025.