Few playwrights can have been so frequently and mischievously misunderstood, misrepresented, overpraised, denigrated, and precipitately dismissed [as Edward Albee]. Canonized after the performance of his first play, The Zoo Story [produced Off-Broadway], he found himself in swift succession billed as America's most promising playwright, leading dramatist, and then, with astonishing suddenness, a "one-hit" writer with nothing to his credit but an ersatz masterpiece patched together from the achievements of other writers. The progression was essentially that suggested by George in Who's Afraid of Virginia Woolf?, "better, best, bested." (p. 1)
To read the bulk of criticism that Albee's work has inspired is to discover the depths to which abstruse pedantry and the Ph.D. industry can go. And, worse still, a number of sizable red-herrings have been dragged across the path of audience and reader alike by those who wish to see his work as an expression of a particular dramatic movement or pathological condition. (p. 2)
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