Look Back in Anger Analysis

Places Discussed (Critical Guide to Settings and Places in Literature)

*English Midlands

*English Midlands. Central region of England in which the play is set. Midlands counties contain the country’s major industrial cities, such as Manchester, Birmingham, Liverpool, Sheffield, and Leeds. Factories dominate their urban landscapes, and their residents are largely working-class. Historically, the Midlands have often been viewed with condescension by more cosmopolitan residents of London, Oxford, and Cambridge. Relatively few literary works prior to the 1950’s were set in the Midlands, and the distinctive northern accent was rarely heard on stage.

Porters’ flat

Porters’ flat. Described as “a fairly large attic room, at the top of a large Victorian house,” the one-room apartment of Jimmy and Alison Porter is an example of the trend derided as “kitchen-sink realism” by some critics during the 1950’s and 1960’s. In stark contrast to the stylish and elegant upper-and middle-class settings of then-popular plays by Noël Coward and others, Osborne’s setting is economically downscale. Its furniture is “simple and rather old,” including two “shabby” armchairs. A double bed takes up much of the space along the back wall.

As in plays by Tennessee Williams, the mere presence of the young married couple’s bed on stage connotes a certain frankness about sexuality that was considered daring for its time—as does Alison’s being seen wearing only a slip during the second act. Books crowd the shelves and cover the chest of drawers, indicating that Jimmy Porter, though of working-class background, is educated, in contrast to virtually all working-class characters depicted in literature earlier. The fact that on Sundays he reads the “only two posh papers,” which are strewn about the room, also indicates his level of intelligence and interest in the larger world, though he complains that the London-based book reviews all sound the same. The ironing-board symbolizes Alison’s unfortunate status in the marriage and the domestic subordination of women in the 1950’s, though her parents are more middle-class than her husband’s.

University

University. Unnamed institution of higher learning that Jimmy apparently attended but left early. He alludes to a university that is “not even red brick, but white tile.” In contrast to Oxford and Cambridge, where England’s social and intellectual elites are educated amid buildings of centuries-old gray stone, “red brick” universities were primarily twentieth century institutions that were more accessible to the public. White tiles are associated with public toilets.

Look Back in Anger Historical Context

By 1956 the British Empire had been shrinking for decades. With the granting of independence to India in 1947 after Gandhi's thirty years of...

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Look Back in Anger Literary Style

Setting
The play takes place in the Porters' one-room flat, a fairly large attic room. The furniture is simple and rather old: a...

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Look Back in Anger Compare and Contrast

1956: The welfare state was in place in England with public ownership of the main public utilities, such as the telephone, gas, and...

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Look Back in Anger Topics for Further Study

Research the "Welfare State" programs and policies in post-World War II England. Why would these not satisfy someone like Jimmy Porter?

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Look Back in Anger Media Adaptations

Look Back in Anger was adapted in 1958 as a film by John Osborne and Nigel Kneale. It was produced by Woodfall Films, a company formed...

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Look Back in Anger What Do I Read Next?

The Entertainer is Osborne's second play, produced by The English Stage Company in 1957. Osborne offers the outdated and dying English...

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Look Back in Anger Bibliography and Further Reading

Sources
Athanason, Arthur Nicholas "John Osborne," in Concise Dictionary of British Literary Biography, Volume 7...

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Look Back in Anger Bibliography (Great Characters in Literature)

Carter, Alan. John Osborne. Edinburgh: Oliver & Boyd, 1969. The chapter on Look Back in Anger is a good starting point for study of the play. Discusses critical and popular reception and explains its importance in theatrical history.

Elsom, John. Post-War British Theatre. London: Routledge & Kegan Paul, 1976. Compares Osborne with other writers of the period. Affirms that, though hardly the proletarian war cry some have supposed, Look Back in Anger inspired other dramatists, particularly through its vivid characterization and riveting dialogue.

Hayman, Ronald. John Osborne. London: Heinemann, 1968. Argues that Osborne’s characters are not in fact representatives of a class or a point of view, but rebels dominated by their own egomania. A readable and persuasive analysis.

Hinchliffe, Arnold P. John Osborne. Boston: Twayne, 1984. A balanced and detailed work, tracing the action of Osborne’s plays in each scene and suggesting various interpretations. Also contains an extended and thoughtful discussion of Osborne’s politics.