My first contact with Arthur Miller came when, as a graduate student, I wrote to him. He replied from Paris. I wrote again a couple of years later after I had seen the European premiere of After the Fall, at the Belgrade Theatre, Coventry (whose ruined cathedral still stands as a reminder of the World War II bombing of the city). I sent him a newspaper clipping about the guilt of the survivor, as this seemed to me, as it turned out to him, to be a central theme of a play concerned with private, public and metaphysical betrayals, the set of which was dominated by a concentration camp tower. As it happens, we had both visited concentration camps a short while previously – I had been to Auschwitz-Birkenau, he to Mauthausen. The play was seen rather differently in America, where the central figure, based on the recently dead Marilyn Monroe, was the cause of controversy. Once again, he replied, beginning what would, some years later, become a regular correspondence, by letter and (fast-fading) fax, along with a series of recorded interviews that would stretch over nearly thirty years.