Throughout the play, A's height is invoked as a symbol of her strength of functionality and power; and, within the case of her "penguin" husband, as its actual source. As a woman who was determined to advance in social class and wealth, however, she faced numerous limitations based on gender and class--most of which she overcame. But her gravest error was to confound her determination with real strength or accomplishment. All of her circumstances, limitations, fears, doubts, and decisions are slowly revealed inside play like a dramatic character of substantial stature is constructed.
The play is autobiographical in nature. As Albee has said inside introduction towards published edition, the central character is really a fictionalized version of his adoptive mother. He did not, he says, intend to write any type of "revenge piece," because, though he and his mother had managed to produce every other quite unhappy throughout the years, he no longer harbored any ill will toward her (Albee n. pag.). He did, however, want in some way to get beyond the reach of their relationship, to "'get her out of my system,'" as he puts it, by writing the play (Albee n. pag.). Yet, while she was not liked by anybody who met her inside last 20 years of her life, Albee soon found that his theatrical version of his mother created her glimpse fascinating to people--a reaction that created him wonder exactly what he had done in making this d
Albee, Edward. Three Tall Women. New York: Plume, 1994.
A's mother haunts every component of her story: she may be the author of A's social ambition; she could be the strict presence who requirements that fictions be maintained; she may be the watchful authority who desires a weekly letter from each of her daughters; and she may be the old, senile, dependent woman screaming her hatred from a guest room in A's house. It gradually becomes clear that A has based her unique version of female strength on her mother's and has adopted her mother's views wholesale--while suppressing nagging doubts that emerge in her confusion and crying in Act One.
This curious result may, however, be due to Albee's deeper intention: a research for understanding. He may well be, as he claims, distanced from the terrible relationship they had. Yet, he writes about it with no becoming sure, as he says, why he is generating so. The understanding he looks to seek is not that which grants forgiveness or reconciles the searcher towards the past. It's understanding inside the simpler sense of explanation. What, he looks to ask, explains her character with its implacable harshness toward himself (as represented in the Young Man) and, it seems, everybody else? Obtaining determined what it is, his curiosity is going to be satisfied.
The ever-literal C, however, objects and begins to question the term "architect." But B mysteriously intervenes and tells her to let it go. Does B fully comprehend the issues more than status that A is revealing here? Does she consider sympathy for ones woman or is she simply recognizing the problem which will follow, for B especially, if she's pressed? Whatever her factors could be her intervention builds over a layer of mystery surrounding A's origins and/or her attempt to put them in a particular light.
A: Well, no; not extremely poor; my father was an architect; he formulated furniture; he created it.
But being a continues her explanation she progressively lowers the status she suggested for her father. She raises.
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