Within reading the first few pages of this well researched and illuminating biography of one of America's finest playwrights, it becomes obvious that author Ralph Voss is first and formost a major fan of William Inge, the bard of Kansas. That is always a prerequisite for embarking on a biographical journey. However, Voss' fandom does get in his way frequently as he unsuccessfully confuses is goal: is he a fan or a critic. This is really a small matter as the book does provide a fascinating insight into William Inge, a man whose private nature makes him a shadowy enigma at best.

Even almost thirty years after his death, Voss (writing in 1988), finds it very difficult to focus on Inge's personal life. The book doesn't provide as effective an insight into the writing process or into the man's inter workings as say Leverich's recent biography of Tennessee Williams has. This is due in no small part to the simple but important fact most of Inge's surviving friends and family didn't really know him.

This leaves Voss with little choice but to focus on the work.

Voss makes it apparent that reading a biography of Inge is ultimately anti climatic as the thin layer of fiction in his work barely covers its ultimately autobiographical quality. Anyone who has read, watched or produced Inge's work will immediately recognize the forms, characters and language and situations relfected in his life. Voss proves most successful in drawing, enhancing and exploring those connections. This holds especially as the older,increasingly cynical and bitter Inge attempts to answer his critics (especially Robert Brustein!) and create plays reflective of the volatile 1960's and early 1970's. His latter plays failed perhaps because Inge tried to write outside of his strengths. Watching his bittersweet portraits of midwestern life crumble to dark and violent scenes of depravity really does fill the reader with a sense of sadness and loss. William Inge, like many great artists, decomposed in front of an audience.

Voss does admit that perhaps while Inge was not a great playwright in the sense he did not revolutionize the form as Brecht, Beckett, Odets, Williams, Miller and Wilder did, he did possess an uncanny ability to capture realistic dialouge.

Inge's sepia toned portraits of midwestern manners and life have been overshadowed by the canon of Williams, Miller and O'Neil to be sure. Voss makes the successful case that Inge stands as a proud equal to the more illuminary authors of America's rich dramatic tradition.

A fine read well worth the time and effort about a fine literary artist desperately in need of rediscovering. Even if it doesn't know whether it is a biography or critical evaluation.