A cart named Desire carried the sins of its four main characters.

Stanley Kowalski, the primitive and undeveloped brute, is a violent and angry person, a typical example of a macho man.

"He behaves like an animal, eats like one, moves like one, without a human level...."

Blanche, the central character, whose goal is to find a husband to protect her. When her husband dies, she engages in many sexual relationships to escape her grief, which leads to her being stigmatized. She hides her true age with a dim light, is sick with pride that does not match her reality, and has a desire that society does not allow.

Stella Kowalski, Blanche's sister and Stanley's wife, is a submissive and obedient woman. She sacrifices her sister for herself and her marriage, fearing to be alone in a society that discards women.

Mitch, Stanley's friend, is a victim of a patriarchal society that measures a woman's worth by her sexual history as a guarantee of her loyalty to him.

Finally, these are the descriptions of typical characters in the early 20th century, and the suffering of these characters under the control of male patriarchy and its impact on everyone.

I have never really delved into southern gothic literature or been particularly fond of Williams. However, this particular work has truly made a mark.

It stands out from the rest, captivating my attention in a way that I did not expect. The unique style and themes presented in this piece are both intriguing and thought-provoking.

Despite my initial lack of interest in the genre and the author, this work has managed to break through my barriers and leave a lasting impression.

It makes me wonder if there are other hidden gems within southern gothic literature that I have yet to discover.

Maybe it's time for me to give this genre and Williams another chance, to see if there are more works like this one that can surprise and delight me.

The first shadows of an early May evening are descending.

The sky that stands out against the white of the building is a particularly delicate blue, almost turquoise, which gives a touch of poetry to the scene and with its grace softens that atmosphere of decadence. One can almost feel the warm breath of the river that flows behind the warehouses located on the shore, with their slight fragrance of bananas and coffee. Such an atmosphere is evoked by the music of the black musicians in a bar around the corner. In this part of New Orleans, there is always, just around the corner, or a little further along the street, a piano with a metallic sound that dark fingers play with rapid fluidity. This "blue piano" expresses the spirit of the life lived here.

This theatrical text was "recommended" by Woody Allen in his autobiography and considered by him his favorite work. I seized the opportunity and read it immediately. What can I say? I perfectly understand its success and realize the merit of this opera. I was only able to find merits: the turbid and decadent atmosphere represented to perfection; the highly impactful, wonderful characters; the superb dialogues; the dramatic finale that breaks the heart. Moreover, the author is truly innovative because he inserted elements such as homosexuality and the suicide of a gay boy in a theatrical text written in the 1940s. It tells of a woman who has fallen, to whom no one shows true empathy, and the spiral of solitude and contempt to which she is doomed. The figure of Stanley, a rude, violent, and vengeful man, is delineated in a crazy way, and he manages to take advantage of Blanche - the protagonist - both psychologically and physically.

In short, it is a splendid opera, and I am glad to have discovered, read, and appreciated it.

Classic, among the best theatrical works. Williams touches on many social themes, making a tremendous impact in America in the 1950s. Violence within the family, the prototype of the strong man, class origin, etc. are some of them.

There is also a film adaptation with Marlon Brando as the lead. It will surely be of interest.

Andoh starts to worry again when she thinks about what you said; that loving is also a choice and she must make a decision. That love no longer has that fiery and tumultuous halo, and it is more of a philosophy of escaping boredom, escaping herself. But without her making the decision herself that she loves you.

And she is so full of you, so full that she is more like a beautiful joke. She knows she doesn't need to see your physical form, but you come. Come so that in paradise, she is Adam and you are Eve, let's take a step.

Love is a complex emotion that often leaves us in a state of confusion and indecision. Andoh finds herself in such a situation, torn between the idea that love is a choice and the reality of her own feelings. She realizes that love has changed for her, losing its initial passion and becoming more about finding a way out of the monotony of life. But she also knows that without consciously choosing to love you, her feelings may not be as deep or true.

BLAAAAANCHE!

Pregnant Stella DuBois and ordinary Stanley Kowalski lead a tumultuous yet content and passionate life in a shabby two-room apartment in New Orleans. However, one day, Stella's older sister Blanche unexpectedly arrives with her belongings, planning to stay for a while. Her refined manners and flamboyant personality hide more than they reveal; something is amiss, and soon conflicts begin to emerge. Her troubled past still haunts her.

I must admit that I originally intended to read 'A Street Cat Named Bob', but ultimately decided that it would be best to first understand the origin of the pun. I don't regret it. This is an outstandingly dramatic short play by the master Tennessee Williams, justifiably worthy of the Pulitzer Prize. It's not exactly a favorite; none of the characters are likable, and some parts are very difficult to stomach. Nevertheless, there are some extremely powerful moments, intense tension, and a story that is more than memorable. Its legendary reputation is not without reason. It is recommendable, perhaps even highly so.

The movie (1951) still remains to be seen.



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\\n  PERSONAL NOTE\\n:
[1947] [107p] [Theatre] [3.5] [Recommendable]
[\\"STELLLAHHHHH!\\"] [“There’s so much - so much confusion in the world.”]
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¡BLAAAAANCHE!

Pregnant Stella DuBois and common Stanley Kowalski live a tumultuous but happy and passionate life in a shabby two-room flat in New Orleans. That is until one day when Stella's older sister Blanche unexpectedly arrives with her belongings to stay for some time. Her refined ways and extravagant personality conceal a great deal more than they show; something is not quite right, and soon frictions start to surface. Her troublesome past has not yet finished with her.

I have to admit that I originally wanted to read 'A Street Cat Named Bob', but in the end, I decided that it was best to at least know the origin of the pun first. I don't regret it. An outstandingly dramatic short theatre play by the master Tennessee Williams, justly deserving of the Pulitzer Prize. Not exactly a favorite; none of the characters are endearing, and some parts are very hard to digest. Yet there are some very powerful moments, tension, and a story that is more than memorable. Its legendary fame is not earned without cause. It is recommendable, maybe even very much so.

The movie (1951) is still outstanding.



-----------------------------------------------
\\n  PERSONAL NOTE\\n:
[1947] [107p] [Theatre] [3.5] [Recomendable]
[\\"!STELLLAHHHHH!\\"] [“There is so much - so much confusion in the world.”]
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A tram named desire is a nimble work, precisely calibrated, tensely wound in a destructive way and possessing a language without frills that makes it fluid, sharp and timeless.

Its story involves a clash of egos, a confrontation of archetypes and an effective study of human nature and its passions.

Blanche, the memorable protagonist, is a no-longer-so-young woman who lives in an artificial bubble of changing illusions while embodying a distorted stereotype of the female spirit, being superficial, manipulative and unstable. A woman who craves passions and luxuries but is forced by circumstances to seek refuge in the home of her younger sister, a poor, vulgar apartment where she lives with an even more vulgar husband.

Stanley is the other great driving force of the work. A violent, overbearing and ordinary man who perceives Blanche's culture and manners as an offense, despises her intrigues and quickly understands her lies. The clash between the two is of an inevitable nature and provides us with a climate of tension and torment that endows Williams' work with a unique attractiveness because although Blanche shines fervently individually, Stanley constitutes a catalyst for her downfall.

Such a truly sad story. I reread it after watching it at my kid's high school play. It is full of triggers that can deeply affect one's emotions, and it is definitely not for the faint of heart. Tennessee Williams was extremely brave to take on these difficult and sensitive topics. This was especially remarkable considering the time in US history when homosexuality was illegal and women were regularly and forcibly institutionalized. His work stands as a classic for a very good reason. It offers a powerful and poignant look into the human condition, exploring themes of love, loss, and the struggle for acceptance in a society that often rejects those who are different. Through his masterful storytelling, Williams forces us to confront our own prejudices and biases, and to see the world from a different perspective. This play is a testament to his genius as a playwright and his ability to create works that are both timely and timeless.

They told me to take the tram called Desire, then to transfer to the tram called Cemetery, to ride it for two stops and to get off at – Elysian Fields!

That's how Blanche briefly described her fateful journey when she arrived in the turbulent outskirts of New Orleans after she had sought refuge with her sister and brother-in-law, exhausted by life and with damaged mental health. In the two rooms of their small apartment, two worlds, two natures, will collide. One is dreamy, longing, and poetically inspired, which characterizes Blanche, and the other is superficial, impulsive, and violent, which characterizes her brother-in-law Stanley. However, both possess one common manipulative trait of character that will be the trigger for the development of the drama, for Blanche in the direction of the metaphorical tram scheme she initially pronounced, and for her sister Stella and Stanley, a great test and danger of the breakdown of their marriage.

First, I read the drama that deeply moved me, then I watched the film with Vivien Leigh and Marlon Brando that made me very nostalgic. I don't know what it would have been like if the order had been reversed.

There's a sort of invisible thread that stretches from Madame Bovary to A Streetcar Named Desire. This thread weaves its way through a hot whorehouse and futilely wraps around the cosmetics section of a pharmacy in the Southern United States before finally knotting at its terminus in New Orleans.

It's almost criminal how often people misinterpret Blanche duBois' whimsy as female frailty. In fact, she is an almost unnaturally strong character, far stronger than her timid sister Stella. Perhaps it's because her foil, Stanley, who is the epitome of masculine strength and violence, makes Blanche seem relatively weak to the reader or viewer. However, the play is dominated by the very different strengths of these two enormous characters: Stanley's violent force and Blanche's imaginative power.

Blanche, like her French-bourgeois predecessor Emma Bovary, has an old-fashioned ideal of romance that she can't reconcile with her amorous experiences. But unlike Emma, Blanche has a much more sordid history. She has become the battleground between her vain illusions and her knowing disillusionment. After falling in love with a gay boy in her youth who later died, she sought love in the many men of the local army camp, living a prostitute's life. She even had an affair with a young male student until she lost her family estate, Belle Reve. Blanche's world - her home, her job, her love - everything was lost. She fled her soiled reputation to live with her sister Stella and her husband Stanley Kowalski. Her passionate imagination is the last remaining crutch of her fragile sanity.

The story of Stella and Stanley is a time-creep of the opposite orientation. Stella becomes aware of the dangers and disturbances of a future with Stanley through the mistreatment of her sister. Stella sheds her luxurious tears at the end as a rueful acknowledgement of the tension between reality and illusion. While she can't fully believe Blanche's story, she also can't bring herself to fully deny it. Her vision of Stanley, of her sister, and of her life ahead is forever changed by what has transpired.

Illusion in the play, the main funhouse mirror, is the illusion of appearance. Everything has a surface and an interior, and there is a struggle and a contradiction between the veneer of appearance and the truth of substance. Blanche becomes obsessed with her appearance, suffocating her own Self by the feint play of her made-up appearance instead of reconciling with the maelstrom of emotion and fear beneath the surface.

For Stanley, escape and illusion are obtained through vice: drinking, gambling, domestic abuse, and violence. His fears of incompetence and undeserving are evaded through his violent actions, which both evade questioning and show his hand. Stanley's violence is incompatible with Blanche's romantic visions of the world, especially her vision of men. In Stanley, Blanche seems a savage character, almost like the stock ruffian of a Spanish romance, but one that is deliberately cruel to her.

Blanche represents the world that shares his wife but that he fears has a stronger, atavistic claim on her. He can never offer Stella money or blissful security, nor can he offer her culture. Blanche is the very manifestation of these ideals, and her romantic vision of the world is alluring to those around her. Her imaginative power is a danger to Stanley's marriage because it reminds him and Stella of the kind of life they can never have with each other.

Desire and death: the only ways to reach paradise!

Such a powerful drama! Williams presents his word-portraits so amazingly.

As I noted when I read Cat on a Hot Tin Roof, he also is a master of stage direction. When reading this play, it's possible to "see" the surroundings, hear the music and voices on the street.

Stanley, Stella and Blanche come alive on the pages as Blanche drops in at her sister's home creating a simmering stew of growing emotion. The heat of a Southern summer is reflected by all that happens in the two-bedroom apartment as stories are told and feelings unleashed.

The way Williams weaves the characters' relationships and the underlying tensions is truly remarkable. It's as if we are right there in the midst of their lives, experiencing every moment with them.

Now I must watch the film...just placed on hold at the library. I'm eager to see how the story is brought to life on the big screen and how the actors bring these complex characters to fruition.

Very highly recommended. This play is a must-read for anyone who appreciates great drama and the power of words to create vivid and unforgettable worlds.

Okay, first of all, may I just say: \\n  you should see the movie before you read the book.\\n The thing about this play is that it absolutely relies on tension. And that tension is absolutely there in a quality rendition of this show. But it is not conveyed on page.

Likewise, most of Blanche’s character is in her nuance, in the subtext of each scene where she acts nervous and worried and in how she is framed and in her fear and turmoil. In a character like this, a character full of ambiguity and hurt and angst, how could an on-page rendition be so sympathetic? How could she gain your sympathies despite her flaws?

The answer is that she doesn’t. Until you see the movie and she breaks your fucking heart.

Honestly, I think there is a lot to be said about this play and its connection to the downfall of Southern white life [wow, we have read about that a lot in AP Lit this year]. There is also a lot to be said about its occasionally-weird gay subtext - there’s some explicit text that the movie cuts because homophobia, but also the fact that this is essentially a love triangle between a woman’s husband and her sister? Which is something the movie plays up, um, kind of a lot. [There’s a scene framing the two sisters as Hollywood lovers and it is weird.]

Also, I’d like to point you all to the comment underneath this status stating that Stanley is a caricature of a straight man and Tennessee Williams just doesn’t understand straight men, because holy shit, that is the funniest thing I have ever read.

But honestly, I think explaining the subtext wouldn’t be the best decision either for spoiler purposes [a lot of the thematic stuff is pretty easy to understand] or for my mental health [I am running off far too little sleep and I don’t think this review is coherent, probably.]. What I will say is that you should see the movie, and then read the play and compare the two, and that I really liked this. It made no impact on me when I read it, but it's worth the watch. The movie brings the story to life in a way that the written word alone cannot. It showcases the emotions, the nuances, and the complex relationships in a more vivid and engaging manner. By seeing the movie first, you can better understand the characters and their motives, and then when you read the play, you can appreciate the author's craft and the details that may have been missed in the movie. So, go ahead and give it a try. You won't be disappointed.