The use of dialogues, in the sense of ‘double handers’, is also an important tool in Miller’s illustration. Mostly, only two characters are talking with each other. This shows that secrets are being held between the characters, the idyll in this neighbourhood isn’t what it looked like in the beginning. Chris, for example, says to his father: “I’m going to ask her to marry me.” Later, Mother says to Joe: “He’s not going to marry her.” There are conflicts between the characters, and they all lead back to the war, when the defected parts were shipped and a Larry disappeared. Arthur Miller introduces several different conflicts; a) Larry is gone, but Mother is still mourning. b) Chris wants to marry Ann, but won’t get Mother’s blessing – the typical ‘forbidden love’ conflict. c) Is there something supernatural going on since the tree blew down when Ann returned? d) Ann’s father has committed a terrible crime. e) George Deever is coming and the Kellers are nervous. All these conflicts has somewhat of the same origin, which strengthens them, and they are discussed only between a few characters at a time. This technique underlines the complex situation in the play. As a reader, you understand that something is being hidden, something that happened three and a half years ago.
One of the most significant techniques Arthur Miller uses to illustrate the complex situation, is the use of stage directions. Through these, we see how the characters feel, and what kind of conflicts they are facing. One good example is Frank and Ann’s conversation on page 114:
“FRANK: Don’t say! [Funereally] And your dad? Is he - ?
ANN [abruptly]: Fine. I’ll be in to see Lydia.
FRANK [sympathetically]: How about it, does Dad expect a parole soon?
ANN [with growing ill-ease]: I really don’t know, I –
FRANK [staunchly defending her father for her sake]:…”
The stage directions, in parentheses, show how both of them find this topic a bit touchy, and that Ann doesn’t like it being brought up. It also points at the serious crime Steve Deever has committed. Miller also increases the tension in the end of Act 1 using this technique. George is coming – Kate and Joe has the following conversation:
“MOTHER: I don’t know. [She speaks with warning.] He’s a lawyer now, Joe.
(…)
MOTHER [her tension breaking out]: Suddenly he takes an airplane from New York to see him.
(…)
MOTHER [trembling]: Why?
(…)
KELLER [frightened, but angry]: Yes I’m sure.
MOTHER [sits stiffly in a chair]: Be smart now, Joe. (…)
KELLER [desperately]: Once and for all, did you hear what I said? I said I’m sure!
MOTHER [nods weakly]; All right, Joe (…)
[KELLER, in hopeless fury, looks at her, turns around, goes up to porch and into house, slamming screen door violently behind him. MOTHER sits in chair downstage, stiffly, staring, seeing.]”
We see how nervous the two characters get, and we understand that they are hiding something. Miller uses this dialogue to make the reader want to continue reading.
Arthur Miller illustrates the complex situation by introducing several conflicts, all with the same origin. He strengthens them using stage directions and by introducing a variety of different characters – like a big melting pot. The use of ‘in medias res’ gives the reader only a clue about what has happened in the past, makes the situation more tense, and gives the reader an eager lust for answers.
Word count: 597
(without quotations)
Miller Arthur, ”All My Sons”, Act 1, Page 100
Miller Arthur, ”All My Sons”, Act 1, Page 126
