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Medicines for Melancholy
by
Jonathan R. Eller
in
Anthems
/ Anthologies
/ Anthropology
/ Arts
/ Behavioral sciences
/ Cognitive psychology
/ Emotion
/ Emotional states
/ Entertainment
/ Ethnography
/ Ethnology
/ European studies
/ Friendship
/ Information resources
/ Information science
/ Interpersonal relations
/ Irish culture
/ Irish drama
/ Irish literature
/ Irish studies
/ Leisure studies
/ Music
/ Music genres
/ Performing arts
/ Popular music
/ Popular songs
/ Psychology
/ Recreation
/ Religious songs
/ Sadness
/ Screenplays
/ Scripts
/ Social psychology
/ Stagecraft
/ Television scripts
/ Theater
2014
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Medicines for Melancholy
by
Jonathan R. Eller
in
Anthems
/ Anthologies
/ Anthropology
/ Arts
/ Behavioral sciences
/ Cognitive psychology
/ Emotion
/ Emotional states
/ Entertainment
/ Ethnography
/ Ethnology
/ European studies
/ Friendship
/ Information resources
/ Information science
/ Interpersonal relations
/ Irish culture
/ Irish drama
/ Irish literature
/ Irish studies
/ Leisure studies
/ Music
/ Music genres
/ Performing arts
/ Popular music
/ Popular songs
/ Psychology
/ Recreation
/ Religious songs
/ Sadness
/ Screenplays
/ Scripts
/ Social psychology
/ Stagecraft
/ Television scripts
/ Theater
2014
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Do you wish to request the book?
Medicines for Melancholy
by
Jonathan R. Eller
in
Anthems
/ Anthologies
/ Anthropology
/ Arts
/ Behavioral sciences
/ Cognitive psychology
/ Emotion
/ Emotional states
/ Entertainment
/ Ethnography
/ Ethnology
/ European studies
/ Friendship
/ Information resources
/ Information science
/ Interpersonal relations
/ Irish culture
/ Irish drama
/ Irish literature
/ Irish studies
/ Leisure studies
/ Music
/ Music genres
/ Performing arts
/ Popular music
/ Popular songs
/ Psychology
/ Recreation
/ Religious songs
/ Sadness
/ Screenplays
/ Scripts
/ Social psychology
/ Stagecraft
/ Television scripts
/ Theater
2014
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Medicines for Melancholy
2014
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Overview
During the spring of 1959, Bradbury’s ever-growing passion for the performing arts provided yet another diversion from story and novel writing—the one-act Irish plays that he had been working on intermittently for many months. These had evolved from his largely unpublished file of Irish stories and story ideas inspired by his seven months in Ireland during 1953–54, writing theMoby Dickscreenplay for John Huston. His daily encounters with the common speech of the Dublin shops and city entertainments still echoed in his mind. In late December 1958, he told Congdon how one Dublin voice in particular welled
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