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By placing a wooden chest containing the murdered boy centre stage and inviting his father to eat supper off it, Hamilton ‘found an authentic addition to the repertoire of
horror’. But by denying all knowledge of the Leopold-Loeb trial, he conceals the fascination he shared with them for Nietzsche, whose superior thought, he believed, was strong enough to free
him from the force field of his father’s megalomania. There is a mention of Carlyle, but none of Nietzsche in the play, and Patrick Hamilton represents its savage homo-erotic theme as being
merely a piece of the stage business. ‘I have gone all-out to write a horror play and make your flesh creep,’ he wrote. ‘. . . If I have succeeded you will leave the theatre
braced and re-created, which is what you go to the theatre for.’ But it was ‘not intended to be a highbrow play’, and so he added ‘delving into morbid psychologies and so
forth’ was quite beside th
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