Now reading "The Glass Menagerie" - haunting.

This play by Tennessee Williams is truly a masterpiece that leaves a lasting impression.

The story follows the Wingfield family, a group of individuals struggling to find meaning and connection in a world that seems to be falling apart around them.

The characters are complex and well-developed, each with their own dreams, fears, and insecurities.

The use of symbolism, such as the glass menagerie itself, adds depth and layers to the narrative.

The play's themes of memory, illusion, and escape are universal and relatable, making it a timeless classic.

As I read, I am drawn into the lives of the Wingfields, feeling their pain and joy, and being haunted by the beauty and tragedy of their story.

"The Glass Menagerie" is not just a play, but a work of art that invites us to reflect on our own lives and the human condition.

I have read two plays by him. One is "The Glass Menagerie", which is a very touching and thought-provoking work. It tells the story of a family's dreams, illusions, and the struggle to find meaning in life. The characters are well-developed and the dialogue is both realistic and poetic.

The other play, unfortunately, I can't remember the name. However, I still have a vivid memory of the overall impression it left on me. It also had its own unique charm and style, which made me appreciate his talent as a playwright even more.

I really like him as a writer. His works have the ability to draw the reader in and make them feel as if they are part of the story. The emotions and themes he explores are universal and relatable, and his use of language is masterful. I look forward to reading more of his plays in the future and continuing to explore the wonderful world of his imagination.

Reading the 1,054 pages of Tennessee Williams’s “Plays 1937 - 1955,” the first of two Library of America volumes, has truly reaffirmed my lifelong respect for this first-rank American writer.

It's important to note that not every piece within these pages is of outstanding quality. For instance, the surrealistic “Camino Real” still fails to convince me. However, there is considerable merit to be found even in the unproduced early works, the minor one-acts, and the prefaces and introductions that he occasionally appended.

And then there are the classics – The Glass Menagerie, A Streetcar Named Desire, Cat on a Hot Tin Roof. These are truly classics, serving as key works of 20th-century literature. The experience of reading them is such a pleasure, allowing one to delve deep into the complex and rich world that Williams has created. It's a journey that every lover of literature should take.

Overall, this volume is a testament to the talent and creativity of Tennessee Williams, and it offers a valuable insight into his evolution as a writer. Whether you're a long-time fan or new to his works, this collection is well worth exploring.

Some of the plays were truly remarkable, while others were not quite as excellent.

I had a great affection for "Camino Real." It was extremely captivating, with an almost otherworldly and ethereal quality to it.

"Cat On A Hot Tin Roof" was rather scathing in its portrayal, presenting a powerful and intense narrative.

"A Streetcar Named Desire" is, without a doubt, a classic that has endured through the ages.

Overall, if you have a passion for plays, it is highly recommended that you explore the works of Williams. His plays offer a diverse range of themes, emotions, and characters that are sure to engage and inspire you. Whether you prefer the fantastical elements of "Camino Real," the biting social commentary of "Cat On A Hot Tin Roof," or the timeless beauty of "A Streetcar Named Desire," there is something for everyone in Williams' oeuvre. So, don't hesitate to pick up one of his plays and embark on a journey into the world of drama.

Every aspiring writer should take the time to read Tennessee Williams.

He is truly a master at demonstrating the concept that the most outstanding stories often possess simple plots yet complex characters. His dialogue is nothing short of brilliant, and each of his works, regardless of its length, weaves a complete and engaging tale that has the power to leave the reader emotionally drained, inspired, or perhaps both.

If you have never delved into the world of plays before, do not be intimidated. They progress at a rapid pace, and with an active imagination, no meaning or impact will be lost. In fact, I found myself completely enamored with this collection.

Williams' ability to create such vivid and memorable characters, along with his skillful use of language and dialogue, makes his works a must-read for anyone interested in the art of storytelling.

Whether you are a budding writer looking for inspiration or simply a lover of great literature, Tennessee Williams' plays are sure to captivate and move you.

I read several works such as "A Glass Menagerie", "Streetcar Named Desire", "Summer and Smoke", "Cat on a Hot Tin Roof", and "The Night of the Iguana". It seems that the author of these plays didn't have a great affection for women. In these stories, women are often portrayed in complex and sometimes rather negative lights. For example, in "A Streetcar Named Desire", Blanche is a troubled and somewhat delusional woman. In "Cat on a Hot Tin Roof", Maggie is desperate and manipulative. However, it's important to note that this doesn't mean the author hated women. Maybe he was just trying to explore the various aspects of human nature, including the flaws and weaknesses that both men and women possess. By presenting these complex female characters, he makes us think more deeply about gender roles, relationships, and the human condition.

We skipped around in this anthology.

I have read a diverse selection of plays, including Cat on a Hot Tin Roof, A Streetcar Named Desire, Summer and Smoke, The Lady of Larkspur Lotion, Battle of Angels, and The Glass Menagerie. Each of these plays had its own unique charm and excellence.

Though it's difficult to choose favorites, I would say that Battle of Angels and A Streetcar Named Desire held a special place in my heart. The intense emotions and complex characters in these plays truly captivated me.

Cat on a Hot Tin Roof was also a remarkable piece. I found the original Williams version to be even more powerful than the Broadway adaptation. It had a raw and unfiltered quality that added to its authenticity.

In conclusion, this anthology provided a wonderful opportunity to explore the works of Tennessee Williams and discover the beauty and depth of his plays.

It’s been an incredibly long time (since college, perhaps?) since I’ve delved into or witnessed any of Williams’ plays, and that was solely the Glass Menagerie. Back then, I was completely captivated by the lonely, poetic characters and the highly personal portraits that Williams so skillfully crafted.

Now, reading at my current, ahem, rather advanced age, I was astounded to discover the social commentary that lies beneath Williams’ works. It’s not blatantly obvious, yet it’s not exactly hidden either. This newfound understanding has added an entirely fresh and vibrant coloring to his works in my eyes.

Not About Nightingales ** – This is an early play that regrettably lacks the refinement and poetic touch characteristic of Williams’ mature works. It is a somewhat rigid, episodic play that takes aim at the abysmal conditions and mistreatment of prisoners. The characters, while lively, are not particularly unexpected. The play progresses in a rather inflexible manner through an interminable series of scenes that shuttle back and forth between the Warden’s office and the prisoners. It’s not a terrible offering for the completist or scholar, but Williams has other, more engaging plays that everyone else should read first.

A Streetcar Named Desire *** – Now, in the latter half of my life (well, deep within the latter half of my life), I’m finally getting around to reading this renowned work of American naturalism. I’ve never read it nor have I seen the movie. This is surely the masterpiece inspired by Ibsen.

To me, a person’s interpretation of the play hinges crucially on whether they believe Blanche is insane (and thus requires confinement in an asylum) or if she was a hapless victim of harsh circumstances that severely damaged her socially, and being unable to “fit in” was ultimately “put away.”

I firmly believe in the latter, and I think this play delicately makes a powerful case for women’s rights. In a culture overwhelmingly dominated by men, a woman without a man is cast aside. She is like a lost soul, with no place to call home, exhibiting strange behavior learned during her time on the streets.

Just imagine how different things could have been if Blanche (and even Stella) could have had independent lives, with autonomous means of existence, free from the shackles of social stigma. Yes, Blanche made some ill-advised choices, but what other options did she truly have?

Several hundred years ago, we burned female social outcasts. In the 1940s, we simply committed them. And today?

I first read Tennessee Williams in high school, and then I read his works again in college. In the years that followed, I often revisited his plays.

Tennessee Williams is a renowned American playwright, and his works are filled with deep emotions and complex characters. This collection of his plays contains some truly great works.

Each play offers a unique perspective on life, love, and human nature. The characters are vividly drawn, and their struggles and desires are palpable.

Williams' use of language is also remarkable. His dialogue is sharp, poetic, and often filled with hidden meanings.

Reading his plays is not only an enjoyable experience but also a thought-provoking one. It allows us to explore the depths of the human psyche and gain a better understanding of the world around us.

I highly recommend this collection to anyone who has an interest in theater or literature. It is a must-read for fans of Tennessee Williams and a great introduction for those who are new to his works.

A Streetcar Named Desire, The Glass Menagerie, and Cat on Hot Tin Roof are all masterpieces of Tennessee Williams.

Tennessee Williams is truly brilliant. His works are filled with complex and multi-dimensional characters.

He has an extraordinary ability to bring out the astonishing vulnerability of his people. Through his plays, we see the characters' inner turmoil, their dreams, their fears, and their desires.

The stories he tells are not only about the characters themselves but also about the human condition in general. They make us think, feel, and empathize with the characters.

Tennessee Williams' plays have stood the test of time and continue to be performed and studied around the world. His unique writing style and his deep understanding of human nature have made him one of the most important playwrights of the 20th century.

We can learn a lot from his works and gain a deeper appreciation for the power of theater to touch our hearts and minds.

Tennessee Williams In The Library Of America -- 1

I first became acquainted with some of Tennessee Williams' plays in the mid-1960s. Over the years, I have often revisited his works. Last year, I had the chance to read John Lahr's biography, "Tennessee Williams: Mad Pilgrimage of the Flesh" (2014), which rekindled my interest in Williams. I decided to read or reread his plays, using what I had learned from Lahr, in the Library of America two-volume collection. The first volume, which I am reviewing here, consists of plays written between 1937 and 1955, selected by two scholars of Williams: Mel Gussow and Kenneth Holditch. It includes a chronology of his life, information on the original productions and editions, and the texts themselves.

Williams' works have always touched me with their beautiful lyricism, romanticism, and sexuality, as well as the tension between convention and individuality, religion and sex, and love and violence. Although the boundaries of some of these tensions have changed since the 1940s and 1950s, I believe Williams' stories, characters, and dilemmas are timeless. They are also highly personal and autobiographical. At the beginning of his biography, Lahr quotes Williams vowing to write plays that were a "picture of my own heart." Later, Williams aimed to be "simple, direct, and terrible," speaking the truth as he saw it without concealment or evasion. This volume and its companion allow the reader to assess whether and how well Williams achieved his goals.

This volume showcases the continuity in Williams' work, in themes, characterizations, and settings, from the earliest plays to the final work, "Cat on a Hot Tin Roof." It also reveals the diversity of which he was capable, which may surprise those new to his work. The volume documents the hard-won nature of success, even for a highly gifted writer like Williams. He struggled with his writing for years, taking menial jobs, living in squalid rooming houses, and enduring failures. Despite often being tempted to give up, he persevered in doing what he was born to do.

The book contains the three plays for which Williams is best known: his first Broadway play, "The Glass Menagerie" (1945), "A Streetcar Named Desire" (1947), and "Cat on a Hot Tin Roof" (1957). Williams had difficulties with the final act of "Cat," and both the Broadway version and his initial version are included in this volume. Each of these three works has been revived many times and is a masterpiece of American literature and theater. It is valuable to have them together in one beautifully bound book of American classics. However, there is much more to the volume. Besides these three famous plays, I want to focus on some of Williams' less well-known works.

The book includes "Summer and Smoke," one of my earliest and favorite plays of his, which poignantly captures the battle between spirit and flesh in a small Mississippi town during World War I. I loved revisiting this play, seeing the film for the first time, and reading Williams' later rewrite, "The Eccentricities of a Nightingale" in the second LOA volume. This volume also contains a challenging work, "Camino Real," a play that failed at its opening but foreshadows Williams' late works with its expressionist character.
The surprise of the volume was "The Rose Tattoo." I was not familiar with this work before, but Lahr's discussion made me want to read it. I read the play and watched the film version starring the famous Italian actress Anna Magnani. This is a lovely play about the power of love and sexuality and the possibility of renewal in mid-life. It is a Williams masterwork that had previously escaped my attention.
Williams' early works and one-act plays, included in the book, are worth knowing in themselves and as foreshadowing what he would later write. The best and most surprising of these early plays is "Not about Nightingales," a drama of prison life that Williams wrote in 1938 in St. Louis. The play received its world premiere in 1998 to great acclaim, thanks to the efforts of Vanessa Redgrave. With its unusual social commentary for a Williams play, this rough early work captures many of his themes. Williams' short play about the death of D.H. Lawrence, "I rise in Flame, Cried the Phoenix," is also worth getting to know. In a short note to the play, Williams wrote of Lawrence in words that also applied to himself: "Lawrence felt the mystery and power of sex, as the primal life urge, and was the lifelong adversary of those who wanted to keep the subject locked away in the cellars of prudery." Among the short plays in this volume, I most enjoyed "27 Wagons Full of Cotton," which became the basis of the 1955 movie "Baby Doll," and "This Property is Condemned," which was loosely adapted in a 1966 film starring Natalie Wood and Robert Redford.
Williams frequently added notes, prefaces, or afterwords to his plays. His essays accompanying "The Glass Menagerie," "Battle of Angels," and "The Rose Tattoo" are in this volume and are particularly worth reading, as is the essay "Something Wild," which accompanied a collection of one-act plays. Williams wrote, explaining his understanding of local theater and the role of art: "Community theaters have a social function, and it is to be that kind of an irritant in the shell of their community. Not to conform, not to wear the conservative business suit of their audience, but to let their hair grow long and even greasy, to make wild gestures, break glasses, fight, shout, and fall downstairs! When you see them acting like this -- not respectably, not quite decently, even! -- then you will know that something is going to happen in that outfit, something disturbing, something irregular, something brave and honest."
The volume includes Williams' plays and the accompanying essays. It does not include his 1950 novel, "The Roman Spring of Mrs. Stone," which I think belongs with his best work and should be preserved.
I enjoyed rereading and reflecting on Tennessee Williams again in the company of John Lahr and the Library of America. Most of Williams' plays are available in individual editions. I have posted reviews of many of them, or on the film versions of the plays, discussing them in more detail for those readers who may be interested. Readers interested in American literature and in Tennessee Williams owe a debt of gratitude to the Library of America.

Robin Friedman

This edition of Williams' early plays to his masterworks offers a unique perspective. It allows you to witness the nascence of the playwright as he delves into his themes right from the start.

We see him explore the stultifying nature of families and culture, the combative relationships that often arise within them. Thwarted love is another prominent theme, as is homosexuality, which, considering the era, was perhaps not as hidden as one might think.

Madness and alcoholism are presented as reactions to these powerful forces. All of this might seem overly complex at first glance. However, Williams is a veritable genius when it comes to drama and character development.

His ability to bring these elements to life in such an organic way is truly remarkable. It makes you appreciate the evolution of his work and the depth of his artistic vision.

Each play in this collection serves as a building block, leading up to his masterpieces and providing a fascinating insight into the mind of one of the greatest playwrights of the 20th century.