THE HUMAN COMEDY BY WILLIAM SAROYAN - THE HARD TASK OF GROWING UP

It’s a story built on very simple facts, very ordinary people, very simple words which aims at transforming history and reality into unheroic epic mythology. That of everyday battles and sufferings. It is a story set in California in the time of WWII but it is actually a story beyond space and time. Homer
the 16-year-old protagonist, Ulysses, his little brother,  and Marcus, his elder brother at war. They live in Ithaca, San Joaquin Valley, California. They’ve got a sister and a mother. But there are no heroes. The Macauleys’ struggles and dreams reflect those of America’s second generation immigrants but-  and especially- also  those of any human being at any time in any place. No , they are not heroic epic figures but real life protagonists of  THE HUMAN COMEDY (1943).

Homer  is the protagonist, in his teen, determined to become the fastest telegraph messenger in the West, happy to be the man of the family in a difficult moment. Happy to ride his bycicle in the wind. But it’s wartime. Time to grow – up for him. Childhood ends when we realize suffering and death exist and they are there, inescapable,  for all of us. Homer becomes aware of that little by little: he is a messenger of death. A mother opens the door, he gives her a telegram and …

“It wasn’t  Homer fault. His work was to deliver telegrams. Even so, he felt awkward and almost as if he alone were responsible for what had happened (… )He was on his bycicle suddenly, riding swiftly down the dark street, tears coming out of his eyes, his mouth whispering crazy young curses. When he got back to the telegraph office the tears had stopped, but everything else had started and he knew there would be no stopping them” (pp.26/28)

MODULE 1. ARTHUR MILLER'S THE CRUCIBLE

A context of fear

The Salem Girls in The Crucible (The Old Vic, London, 2014)

Arthur Miller wrote The Crucible in the 1950s,  in a climate of fear, during the Cold War, when communist infiltration of US culture was considered a pathology, a virus that could kill their politics and their nation.  

Writers and intellectuals gravitated to communism during the 1930s Depression, either hoping its precepts could lead to social reform or as a way to protest America’s isolationism, specifically the nation’s neutrality in the Spanish War.  In the 50s, in a period of right-wing paranoia, they became Senator McCarthy’s scapegoats. They were considered Un-American. The House Un-American Activities Committee (HUAC) turned its attention to writers and actors who were  supposedly seen as a threat to the republic. Those who in the 1930s had embraced radical politics were now to be made to pay.  

In January 1952 Elia Kazan, Miller’s friend and film director, was summoned by the Committee. Although at first he refused to name names, he changed his mind, confessing what he had done and said to Miller,  who then left Kazan’s house and drove directly to Salem, Massachusetts to research what would become The Crucible.