This book is especially recommended for theatre lovers and constitutes an essential contribution to the history of women in the US during the twentieth-century. Following Virginia Woolf, Barbara Ozieblo has as her goal to "capture" Glaspell's personality, but the results go far beyond this original purpose. Seduced by a brilliantly polished, engaging narrative, the reader is presented with a new perspective on the development of American theatre in the first half of the twentieth century by means of a smooth movement between identification with Glaspell and a fine and suggestive analysis of her writings.

For the theatre critic / lover, the most relevant dimension of Susan Glaspell's life is her involvement in the creation of the Provincetown Players, either as promoter, actress or playwright. In this regard, a new focus on her standpoint is worth considering, being both protagonist and witness in the development of George Cram Cook's visionary efforts. No doubt, her point of view enables a more accurate, fresher account of the true nature and evolution of Cook's relationship with Eugene O'Neill.

The reader becomes Glaspell herself while witnessing this crucial part in twentieth-century American drama. The implication is that, from her position between external spectator and measured participant, we can reach a more suitable evaluation of the Provincetown Players' contribution to US theatre. This fact is accounted for by the author's decisiveness at drawing consistent conclusions at the right time within the narrative.

An outstanding student and vocational writer, Glaspell also offers an invaluable personal story of abnegation and endurance. The chapter devoted to Cook's final days in Greece does justice to her position as committed wife and sacrificed woman. Here we have an example of a woman's ambivalent role regarding the rules imposed by the society of the time. The main question is whether Glaspell would have utilized her talents in a better way without the burdens imposed by marriage. However, the narrative efficiently locates us within Glaspell's persona, and her constant sufferings caused by her true love for Cook, indeed a demanding and dependent dreamer.

Finally, Glaspell's life as a widow back in the US becomes an example of the unrewarding, sometimes miserable life of twentieth-century women involved in the artistic sphere. Recognized writer, Pulitzer-prize winner and generous mentor, Glaspell keeps on being "too" generous, especially in her relationships with men, and for most of her life remains a solitary individual whose loneliness is only alleviated by the company of her friends and animals and, ultimately, her love for the theatre.

It is precisely this love for the theatre that this excellent biography transfers to the reader, no matter what background, interests or motivations he or she have. Bored with annoying biographies trying to make up silly stories about the hollow lives of any writer or celebrity, this book becomes a fresh, invigorating breeze for both the critic and the general reader.