TRAVELER IN THE DARK by Marsha Norman
The impulse toward poetry seems to burn more hotly in playwrights than the impulse toward literal truth. The conjurer's tricks of the dramatist—metaphor, epigram, literary allusion and the fateful juxtaposition—somehow feel more artistic than the precise evocation of life. That attitude seems to have gripped even one of the stage's most adroit neorealists, Marsha Norman. She won her reputation with the 1979 drama about a woman's leaving prison, Getting Out, and last year received the Pulitzer Prize for 'Night, Mother, a mundanely detailed conversation over cocoa...
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