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A little man makes a mistake and they hang him by the thumbs the big ones become ambassadors.

Arthur Miller

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Arthur Miller
Age: 89 †
Born: 1915
Born: October 17
Died: 2005
Died: February 10
Author
Essayist
Journalist
Novelist
Playwright
Prosaist
Screenwriter
Writer
New York City
New York
Arthur Asher Miller
Bigs
Makes
Become
Littles
Ambassadors
Little
Thumbs
Men
Hang
Ones
Mistake

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A lot of my work goes to the center of where we belong--if there is any root to life -because nowadays the family is broken up, and people don't live in the same place for very long.
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... so many tremendous decisions in life are made because it is five o'clock.
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And yet one can't forever stand on the shore at some point, even if filled with indecision, skepticism, reservation and doubt, you either jump in or concede that life is forever elsewhere.
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I think now that the great thing is not so much the formulation of an answer for myself, for the theatre, or the play - but rather the most accurate possible statement of the problem.
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There is unquestionably a contradiction between an efficient technological machine and the flowering of human nature, of the human personality.
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An era can be said to end when its basic illusions are exhausted.
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The very impulse to write springs from an inner chaos crying for order - for meaning.
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I came out of a culture in which my uncle, my father - they were all salesmen of one kind or another. My father was a manufacturer. He also, in effect, had to sell that stuff. And if he didn't literally do it, his men did. So, selling was in the air through my boyhood. The whole idea of successfully selling was very important.
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Cleave to no faith when faith brings blood.
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Part of knowing who we are is knowing we are not someone else. And Jew is only the name we give to that stranger, the agony we cannot feel, the death we look at like a cold abstraction. Each man has his Jew it is the other.
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There are many who stay away from church these days because you hardly ever mention God any more.
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I'm the end of the line absurd and appalling as it may seem, serious New York theater has died in my lifetime.
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...an everlasting funeral marches round your heart.
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Everybody likes a kidder, but nobody lends him money.
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The Crucible became by far my most frequently produced play, both abroad and at home. Its meaning is somewhat different in different places and moments. I can almost tell what the political situation in a country is when the play is suddenly a hit there it is either a warning of tyranny on the way or a reminder of tyranny just past.
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Like every writer, I am asked where my work originates, and if I knew I would go there more often to find more.
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In the theater, while you recognized that you were looking at a house, it was a house in quotation marks. On screen, the quotation marks tend to be blotted out by the camera.
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Because it is my name! Because I cannot have another in my life! Because I lie and sign myself to lies! Because I am not worth the dust on the feet of them that hang! How may I live without my name? I have given you my soul leave me my name!
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I know that my works are a credit to this nation and I dare say they will endure longer than the McCarran Act.
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The play is really a kind of nightmare. It ought to flow rapidly and effortlessly from one moment to another. In London, we had difficulty with the set, which required too much effort to move around. Having gotten the benefit of seeing it done once, I wanted to work on the script, to make it sharper and more pointed.
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