Overview

While much of Tom Stoppard's early work (Rosencrantz and Guildenstern Are Dead and The Real Inspector Hound, for instance) is postmodern, the remainder of his career essentially tracks backward from there--becoming """"late modernist"""" in the 1970s (Travesties) and fully modernist in the 80s and 90s (The Real Thing and Arcadia). This pattern also makes sense of Stoppard's recent and uncharacteristic foray into dramatic realism with The Coast of Utopia (2002) and Rock 'n' Roll (2006). The playwright seems to embrace what he sees as the more straightforward rhetorical advantages of literary realism.

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Jernigan's analyses are first rate and his scholarship is solid. His prose exudes the confidence of a man prepared to argue his case with gusto that welcomes counterpoint. A welcome addition --<i>Comparative Drama</i>.

Jernigan's analyses are first rate and his scholarship is solid. His prose exudes the confidence of a man prepared to argue his case with gusto that welcomes counterpoint. A welcome addition --Comparative Drama.

Author Information

Daniel Keith Jernigan is an assistant professor of English at Nanyang Technological University, Singapore. He is the editor of Drama and the Postmodern: Assessing the Limits of Metatheatre and has published on Tom Stoppard and Caryl Churchill.

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