Death of a Salesman

<b>The Pulitzer Prize-winning tragedy of a salesman’s deferred American dream</b><br> <br>Ever since it was first performed in 1949, <i>Death of a Salesman</i> has been recognized as a milestone of the American theater. In the person of Willy Loman, the aging, failing salesman who makes his living riding on a smile and a shoeshine, Arthur Miller redefined the tragic hero as a man whose dreams are at once insupportably vast and dangerously insubstantial. He has given us a figure whose name has become a symbol for a kind of majestic grandiosity—and a play that compresses epic extremes of humor and anguish, promise and loss, between the four walls of an American living room.<br><br>"By common consent, this is one of the finest dramas in the whole range of the American theater." —Brooks Atkinson, <i>The New York Times</i><br><br>"So simple, central, and terrible that the run of playwrights would neither care nor dare to attempt it." —<i>Time</i> <b>The Pulitzer Prize-winning tragedy of a salesman’s deferred American dream</b><br> <br>Ever since it was first performed in 1949, <i>Death of a Salesman</i> has been recognized as a milestone of the American theater. In the person of Willy Loman, the aging, failing salesman who makes his living riding on a smile and a shoeshine, Arthur Miller redefined the tragic hero as a man whose dreams are at once insupportably vast and dangerously insubstantial. He has given us a figure whose name has become a symbol for a kind of majestic grandiosity—and a play that compresses epic extremes of humor and anguish, promise and loss, between the four walls of an American living room.<br><br>"By common consent, this is one of the finest dramas in the whole range of the American theater." —Brooks Atkinson, <i>The New York Times</i><br><br>"So simple, central, and terrible that the run of playwrights would neither care nor dare to attempt it." —<i>Time</i>