TLS: Wednesday, May 01, 1935

(Letterhead: CASA GENOTTA / SEA ISLAND / GEORGIA)

León Mirlas, Esq.,
Córdoba 962, 60 piso, Dpto 40.
Buenos Aires-República Argentina.

My dear Mr. Mirlas,

Thank you for your long letter. I am delighted that you thought so well of "Days Without End" and I have read your sensitive and understanding appreciation of it with deepest pleasure. It is most kind of you to write me about it at such length and I appreciate your courtesy in doing so. It is good to hear from the few who can read this play and see what it is really written about. I have heard enough - and too much! - from those who, when they speak of it, seem to me not to be considering my play at all but some drama of their own imagining.

"Dynamo" I intend to rewrite some day. It has the makings of a fine play but I am by no means satisfied with it as it is. It is clumsy and gets in it's own way. If confuses itself.

Yes, it is true that, as originally planned years ago, "Dynamo" and "Days Without End" were to be the first two plays of a trilogy and "It Cannot Be Mad" was to be the third. But the idea for the last play was always nebulous - and as, to date, it remains still vague and unformed in my mind, there is little prospect of it's coming to life for a long time to come.

I am at present working on the most important and ambitious project I have ever attempted. This is a Cycle of seven plays - the material, psychological, and spiritual history of a family over a period of one hundred years. The first play begins in 1829, the last ends in 1932, and five generations of the family appear in the Cycle. It is, as far as I know, an attempt unique in drama and I am extremely enthusiastic about it. So far I am still at the stage of writing detailed scenarios for all the plays but I hope to start dialogue on the first play within a few months. As you can imagine, it involves a tremendous amount of reading and note-taking - for even if I find it beside my point to use much historical-fact background, still I wish to live in the time of each play when writing it.

In reply to your questions at the close of your letter:

Yes, I do think "Welded" and "The Fountain" are inferior work. Also, "The First Man" and "Gold". If I ever make a definitive edition of my work I shall probably omit these four plays and some of the one-acters.

As for the epilogue to "Brown", perhaps you are right from a technical standpoint. Perhaps, if I could be properly objective about that play, I might agree. But I love that epilogue. For me it rounds out the whole play as an inevitable poetic experience in life. It moves me deeply. And there you are. It's a case of love, you understand, so it's no good your asking me to be critical about it! I simply refuse to be!

The information about your translation of "Marco Millions" is most welcome. I hope it will go on during your coming season and shall rely on your courtesy to write me about the production and it's reception.

With all good wishes to you,

Very sincerely yours,

Eugene O'Neill

May 1st 1935.