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By Sue Prideaux

Novelist, satirist, poet, photographer, painter, alchemist, and hellraiser-August Strindberg was once a majority of these, and but he's mostly identified, in Arthur Miller's phrases, as "the mad inventor of recent theater" who led playwriting out of the well mannered drawing room into the snakepit of mental struggle. This biography, supported by means of huge new learn, describes the eventful and complex lifetime of one of many nice literary figures in international literature. Sue Prideaux organizes Strindberg's tale right into a gripping and hugely readable narrative that either illuminates his paintings and restores humor and humanity to a guy frequently shrugged off as too tricky. top identified for his play pass over Julie, Strindberg wrote sixty different performs, 3 books of poetry, eighteen novels, and 9 autobiographies. much more than so much, Strindberg is a author whose existence sheds precious gentle on his paintings. Prideaux explores Strindberg's many art-life connections, revealing for the 1st time the originals who encouraged the characters of omit Julie and her servant Jean, the unusual conditions during which the play used to be written, and the genuine suicide that encouraged the shattering finishing of the play. Recounting the playwright's trip in the course of the "real" global in addition to the realm of trust and concepts, Prideaux marks the centenary of Strindberg's demise in 1912 with a biography useful of the guy who laid the root for Western drama during the 20th century or even into the twenty-first.

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When they married, Siri had been on the plump side with abundant blond hair and china-blue eyes, a spirited and indulged young woman with ambitions to go on stage, but now she was thin, as Lundegård observed, and carried herself with the graceful melancholy of the disappointed actress. Siri had not set foot on the stage for four years. The three children following her into the hotel dining room were uniformly pale and blond, they had pleasing manners and were so charmingly dressed that only the gimlet-eyed might spot Siri's economical refurbishments.

Countess Frankenau and her half-brother provided the inspiration for the two main characters but it was the happenings at Skovlyst and in Copenhagen between May and August that provided the inspiration for many of the events in the play, which Strindberg wrote with great rapidity at Skovlyst during July and the start of August. * * * Anna Louisa Frankenau was forty when the Strindberg family arrived. She was the last pillar in a noble line that since 1692 had propped up Denmark's church, law and literature.

He did not want to be known as horebarn (whore's child) and so he suggested he should be known as her servant. Anna Louisa readily complied, happy to protect her parents' posthumous reputation. It is important to remember that throughout his time at Skovlyst, Strindberg had no idea that the servant was in fact the Countess's half-brother. 37 He started stealing from his mother almost as soon as he could walk but he waited until he was seventeen before he was first in trouble with the police for thieving.

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