Robert Combs

Robert Combs
Professor of English
Phillips Hall, Room 635
[email protected]

Professor of English

Current Research

My teaching and research interests include American Drama, especially the plays of Eugene O’Neill, and short fiction from Poe to the present.


Ph.D., University of South Carolina, 1971.


Vision of the Voyage: Hart Crane and the Psychology of Romanticism. Memphis: Memphis State UP, 1978.

“O’Neill’s ‘Hughie’: The Sea Plays Revisited,” in Native Eloquence: New Essays on Eugene O’Neill’s One-acts, ed. Michael Bennett. New York: Palgrave Macmillan, 2013. 175-192.

“Bohemians on the Bookcase: Quotations in Long Day’s Journey into Night and AhWilderness!” The Eugene O’Neill Review, Vol. 33, No.1, 2012. 1-13.

Salome and the Shudder of History: A Reading in Memory of Morse Peckham,” in Refiguring Oscar Wilde’s Salome, ed. Michael Bennett. Amsterdam and New York: Rodopi, 2011. 183-199.

“’O’Neill’: The Unwritten Chapter in D. H. Lawrence’s Studies in Classic American Literature,” in The Eugene O’Neill Review, Vol. 31, Fall 2009. 60-66.

“The Eternal Now of Brave New World: Huxley, Joseph Campbell, and The Perennial Philosophy,” in Huxley’s Brave New World: Essays, ed. David Garrett Izzo and Kim Kirkpatrick, Jefferson, NC: McFarland, 2008. 161-171.

“The Importance of Being Henry James: What the Master Learned from Oscar Wilde,” in Henry James Against the Aesthetic Movement, ed. David Garrett Izzo and Daniel T. O’Hara. Jefferson, NC: McFarland, 2006. 186-200.

“Internalizing Terror: Reflections of Arthur Miller’s Broken Glass in Pinter and Williams,” in Arthur Miller: Twentieth Century Legend, ed. Syed Mashkoor Ali. Jaipur (India): Surabhi Publications, 2006. 353-361.

“Affinities Between the Poetry of Hart Crane and the Plays of Eugene O’Neill,” in The Eugene O’Neill Review, Vol. 27, Fall 2005, pp. 51-60.

“Camus, O’Neill, and the Dead Mother Society,” in The Eugene O’Neill Review, Vol. 26, Spring, 2004, pp. 189-198.

“Oh, Those Kids! Vanishing Childhood Innocence in the Adults of William Inge,” in American Drama, Vol. 13, no. 2 (Summer 2004), pp. 64-81.