Arthur I. Miller Speaker & Booking Information

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The sudden change in fortune had a strong influence on Miller. "This desire to move on, to metamorphose - or perhaps it is a talent for being contemporary - was given me as life's inevitable and righful condition," he wrote in TIMEBENDS: A LIFE (1987). The family moved to a small frame house in Brooklyn, which is said to the model for the Brooklyn home in Death of a Salesman. Miller spent his boyhood playing foorball and baseball, reading adventure stories, and appearing generally as a nonintellectual. "If I had any ideology at all it was what I had learned from Hearst newspapers," he once said. After graduating from a high school in 1932, Miller worked in automobile parts warehouse to earn money for college. Having read Dostoevsky's novel The Brothers Karamazov Miller decided to become a writer. To study journalism he entered the University of Michigan in 1934, where he won awards for playwriting - one of the other awarded playwright was Tennessee Williams.

After graduating in English in 1938, Miller returned to New York. There he joined the Federal Theatre Project, and wrote scripts for radio programs, such as Columbia Workshop (CBS) and Cavalcade of America (NBC). Because of a football injury, he was exempt from draft. In 1940 Miller married a Catholic girl, Mary Slattery, his college sweetheart, with whom he had two children. Miller's first play to appear on Broadway was THE MAN WHO HAD ALL THE THE LUCK (1944). It closed after four performances. Three years later produced ALL MY SONS was about a factory owner who sells faulty aircraft parts during World War II. It won the New York Drama Critics Circle award and two Tony Awards. In 1944 Miller toured Army camps to collect background material for the screenplay THE STORY OF GI JOE (1945). Miller's first novel, FOCUS (1945), was about anti-Semitism.

Miller's plays often depict how families are destroyed by false values. Especially his earliest efforts show his admiration for the classical Greek dramatists. "When I began to write," he said in an interview, "one assumed inevitably that one was in the mainstream that began with Aeschylus and went through about twenty-five hundred years of playwriting." (from The Cambridge Companion to Arthur Miller, ed. by Christopher Bigsby, 1997).

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