The most acclaimed writer of the thirties was Clifford Odets. He rose out of the Depression to give voice to a world in crisis. He put the Bronx Jewish middle class on stage and gave them courage, dignity, and stature. (p. 109)
Paradoxically, Odets was the playwright least able to maintain persuasive drama in the sixties. His exodus to Hollywood, together with many members of the Group Theatre, removed him from his natural nourishment. When he returned to Broadway ten years later with The Big Knife, he no longer was a man of social anger. Success had deprived him of identification with the downtrodden. Of the next plays, The Country Girl (1950) was an outright attempt at a superficial success, and The Flowering Peach (1954), a drama that never focused precisely on what it had to say.
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