Directors and fellow playwrights have observed that Henley approaches a play from the point of view of theater, not literature and that as an actress, she then knows how to make her works stageworthy (Haller). Barnette also reveals that medical records suggest Zackery had abused Meg leading up to the shooting. INTRODUCTION Crimes of the Heart is about all those crimes that people commit every day. Haller, Scott.Her First Play, Her First Pulitzer Prize in the Saturday Review, November, 1981, p. 40. You hear people tell stories, and somehow they are always more vivid and violent than the stories people tell out in Los Angeles., While Crimes of the Heart does have a tightly-structured plot, with a central and several tangential conflicts, Henleys real emphasis, as Nancy Hargrove suggested in the Southern Quarterly, is on character rather than on action. Jon Jory, the director of the original Louisville production, observes that what so impressed him initially about Henleys play was her immensely sensitive and complex view of relationships. As Scott Haller observed in Saturday Review, however, Henleys purpose is not the resurrection of this tradition but the ransacking of it. Babe says she understands why their mother hanged the family cat along with herself; not because she hated it but because she loved it and was afraid of dying all alone.. . A much more recent source, this interview covers a wider range of Henleys works, but still contains detailed discussion of Crimes of the Heart. 30, nos. him at the hospital, after answering Babes question about the nature of his personal vendetta against Zack: the major thing he did was to ruin my fathers life., Lenny enters, fuming; Meg, apparently, lied shamelessly to their grandfather about her career in show business. Students and others who had protested against the war remained largely disillusioned about the foreign interests of the U.S. government, and society as a whole remained traumatized by U.S. casualties and the devastation wrought by the war, which had been widely broadcast by the media; the Vietnam War was often referred to as the living room war due to the unprecedented level of television coverage. Beth Henley in The Playwrights Art: Conversations with Contemporary American Dramatists, Rutgers University Press, 1995, pp.
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