Books by Tennessee Williams

Winner of the Pulitzer Prize, Tennessee Williams's A Streetcar Named Desire is the tale of a catastrophic confrontation between fantasy and reality, embodied in the characters of Blanche DuBois and Stanley Kowalski. 'I have always depended on the kindness of strangers'Fading southern belle Blanche DuBois is adrift in the modern world. When she arrives to stay with her sister Stella in a crowded, boisterous corner of New Orleans, her delusions of grandeur bring her into conflict with Stella's crude, brutish husband Stanley Kowalski. Eventually their violent collision course causes Blanche's fragile sense of identity to crumble, threatening to destroy her sanity and her one chance of happiness.Tennessee Williams's steamy and shocking landmark drama, recreated as the immortal film starring Marlon Brando, is one of the most influential plays of the twentieth century.This Penguin Modern Classics edition includes an introduction by Arthur Miller.'Lyrical and poetic and human and heartbreaking and memorable and funny'Francis Ford Coppola, director of The Godfather'One of the greatest American plays'Observer

Archie Lee Meighan's cotton gin business is foundering in the face of Silva Vacarro's Syndicate Gin. On the day Archie's furniture is repossessed he takes action, burning down the Syndicate Gin. Silva then pays Archie and his wife Baby Doll a visit, seeing the latter as the key to justice.

Orpheus Descending is a love story, a plea for spiritual and artistic freedom, as well as a portrait of racism and intolerance. When charismatic drifter Valentine Xavier arrives in a Mississippi Delta town with his guitar and snakeskin jacket, he becomes a trigger for hatred and a magnet for three outcast souls: storekeeper Lady Torrance, "lewd vagrant" Carol Cutrere, and religious visionary Vee Talbot.Suddenly Last Summer, described by its author as a "short morality play," has become one of his most notorious works due in no small part to the film version starring Elizabeth Taylor, Katharine Hepburn, and Montgomery Clift that shocked audiences in 1959. A menacing tale of madness, jealousy, and denial,the horrors in Suddenly Last Summer build to a heart-stopping conclusion.With perceptive new introductions by playwright Martin Sherman - he reframes Orpheus Descending in a political context and explores the psychology and sensationalism surrounding Suddenly Last Summer - this volume also offers Williams's related essay, "The Past, the Present, and the Perhaps," and a chronology of the playwright's life and works.

"I cannot write any sort of story," said Tennessee [to Gore Vidal] "unless there is at least one character in it for whom I have physical desire." These transgressive Tales of Desire, including "One Arm," "Desire and the Black Masseur," "Hard Candy," and "The Killer Chicken and the Closet Queen," show the iconic playwright at his outrageous best.

Tennessee Williams' lesser-known one act plays reveal a tantalising and fascinating perspective to one of the world's most important playwrights.

Written at various times over the last twenty-five years but never produced, the four scripts included in Tennessee Williams's Stopped Rocking and Other Screenplays encompass both the realistic style of "the early Williams" (the author's quotes) and the more experimental dramatic devices of many of his "later" plays. Two screenplays from the fifties, All Gaul Is Divided and The Loss of a Teardrop Diamond, remained in the files of Williams's New Orleans apartment until a thorough cleaning uncovered them in the mid-seventies. Thus, All Gaul, an expanded version of the story of a St. Louis teacher's dreams of love told in A Lovely Sunday for Creve Coeur (1978) actually predates that play. A companion piece in mood and style, The Loss of a Teardrop Diamond lyrically evokes the late twenties debutante society of Memphis and the Delta plantations. Adapted from the graphic short story of the same name, One Arm concerns a young male hustler awaiting execution for murder. Because much of the visual action is combined with a voice-over narration, Williams considered the form of this "film-play" from the late sixties somewhat experimental. In Stopped Rocking (1977), Williams returns to a familiar theme, the institution as the last haven of those who cannot cope with daily conflict and have "resigned from life." He was confident that this play, like so many of his others, would eventually find its audience: "I know that the 'dark' of the work is more than balanced by its humanity, and that this light of humanity will tip the balance favorably, as a natural act of grace."

Reality and fantasy are interwoven with terrifying power as two actors on tour-brother and sister-find themselves deserted by the trope in a decrepit "state theatre in an unknown state." Faced (perhaps) by an audience expecting a performance, they enact "The Two-Character Play"-an illusions within an illusion, and "out cry" from isolation, panic and fear. "I think it is my most beautiful play since Streetcar," Tennessee Williams said, "and I've never stopped working on it....It is a cri de coeur, but then all creative work,all life, in a sense is a cri de coeur."In the course of its evolution, several earlier versions of The Two-Character Play have been produced. The first of them was presented in 1967 in London and Chicago and brought out in 1969 by New Directions in a signed limited edition. The next, staged in 1973 in New York under the title Out Cry, was published by New Directions in 1973 The third version (New York, 1975), again titled The Two-Character Play, is the one Tennessee Williams wished to include in New Directions' The Theatre of Tennessee Williams series. It is this version which is presented in this ND paperback.

Tennessee Williams's controversial Hollywood screenplay Baby Doll opens with Archie Lee's teenage bride driving him to distraction, as she has refused to consummate their marriage until the day of her twentieth birthday. Enter wily Sicilian Silva Vaccaro, Archie's rival both in the cotton business and for the affections of the flirtatious Baby Doll, and things reach breaking-point. This volume also contains Something Unspoken, a brilliantly comic study of a wealthy, manipulative Southern spinster, and Summer and Smoke, a sexually charged portrayal of Alma, a sensitive, unmarried minister's daughter, and her childhood love, the wild, sensual doctor's son John.

'Big Daddy' Pollitt, the richest cotton planter in the Mississippi Delta, is about to celebrate his sixty-fifth birthday. His two sons have returned home for the occasion: Gooper, his wife and children, Brick, an ageing football hero who has turned to drink, and his feisty wife Maggie. As the hot summer evening unfolds, the veneer of happy family life and Southern gentility gradually slips away as unpleasant truths emerge and greed, lies, jealousy and suppressed sexuality threaten to reach boiling point. Made into a film starring Elizabeth Taylor and Paul Newman, Cat on a Hot Tin Roof is a masterly portrayal of family tensions and individuals trapped in prisons of their own making.

Abandoned by her husband, Amanda Wingfield comforts herself with recollections of her earlier, more gracious life in Blue Mountain when she was pursued by 'gentleman callers'. Her son Tom, a poet with a job in a warehouse, longs for adventure and escape from his mother's suffocating embrace, while Laura, her shy crippled daughter, has her glass menagerie and her memories. Amanda is desperate to find her daughter a husband, but when the long-awaited gentleman caller does arrive, Laura's romantic illusions are crushed.

These three dramatic works by Tennessee Williams explore the darker side of human nature and are haunted by a sense of isolation and regret. 'Suddenly Last Summer' is the starkly told story of Catherine, who seemingly goes insane after her cousin Sebastian dies in grisly circumstances on a trip to Europe. 'The Milk Train Doesn't Stop Here Anymore' is a passionate examination of a wealthy old woman as she recounts her memories in the face of death, while in 'Small Craft Warnings' a motley group of people - including a blowsy beautician, a discredited alcoholic doctor, a vulnerable waif and two gay men - sit around a seedy bar on the Californian coast, each contemplating their own desperate fate.

Fugitive Kind, one of Tennessee Williams's earliest plays, is one of his richest in dramatic material. Written in 1937 when the playwright was still Thomas Lanier Williams, Fugitive Kind introduces the character who will inhabit most of his later plays: the marginal man or woman who, through no personal fault, is a misfit in society but who demonstrates an admirable will to survive. Signature Tennessee Williams' characters, situations, and even the title (which was used as The Fugitive Kind for the 1960 film based on Orpheus Descending) have their genesis here. At age twenty-six, Williams was still learning his craft and this, his second full-length play, shows his debt to sources as diverse as thirties gangster films (The Petrified Forest, Winterset) and Romeo and Juliet. Fugitive Kind, with its star-crossed lovers and big city slum setting, takes place in a flophouse on the St. Louis waterfront in the shadow of Eads Bridge, where Williams spent Saturdays away from his shoe factory job and met his characters: jobless wayfarers on the dole, young writers and artists of the WPA, even gangsters and G-men. Fugitive Kind was also Williams's second play to be produced by The Mummers, a St. Louis theatre group devoted to drama of social protest. Called "vital and absorbing" by a contemporary review in The St. Louis Star-Times, this play reveals the young playwright's own struggle between his radical-socialist sympathies and his poetic inclinations, and signals his future reputation as our most compassionate lyric dramatist.

When Memoirs was first published in 1975, it created quite a bit of turbulence in the media--though long self-identified as a gay man, Williams' candour about his love life, sexual encounters, and drug use was found shocking in and of itself, and such revelations by America's greatest living playwright were called "e;a raw display of private life"e; by The New York Times Book Review. As it turns out, more than thirty years later, Williams' look back at his life is not quite so scandalous as it once seemed; he recalls his childhood in Mississippi and St. Louis, his prolonged struggle as a "e;starving artist,"e; the "e;overnight"e; success of The Glass Menagerie in 1945, the death of his long-time companion Frank Merlo in 1962, and his confinement to a psychiatric ward in 1969 and subsequent recovery from alcohol and drug addiction, all with the same directness, compassion, and insight that epitomize his plays.

In these three exotic, steamy dramas Tennessee Williams portrays loss, faded lives and passionate love affairs.The Rose Tattoo is set in a bustling, Sicilian-American community, where newly widowed Serafina is paralysed by grief, until she has her romantic illusions about her dead husband shattered and rediscovers her true nature as a fiery prima donna, in a life-affirming celebration of love and sex. Tennessee Williams explores a new 'wild and unrestricted' theatrical form in the colourful tropical fantasy Camino Real, while Orpheus Descending, however, takes us into the dark territory of the Deep South: the corrupt hell of a small, brutal township, where a forbidden and tragic love affair sparks horrific violence.

Loneliness, sexual tension and the need for human kindness pervade these three plays by Tennessee Williams, as their characters rage against personal demons and the modern world. In 'Sweet Bird of Youth', a drifter, Chance Wayne, returns to his home town with an ageing movie actress in search of the girl he loved in his youth, but with terrible, violent results. 'Period of Adjustment' tells the story of two young newlyweds who visit the husband's old army friend on Christmas Eve after unsuccessfully consummating their marriage, and unleash forbidden passion, while in 'The Night of the Iguana' a diverse group of people, including a disturbed ex-minister and a troubled spinster, are thrown together in an isolated Mexican hotel for one eventful night.

Set in Provincetown, Cape Cod, in 1940, Kip is a character on the verge of adulthood learning about love, his sexuality and the poetry that breathes within him. The play echoes Williams' own experiences during that "pivotal summer when I was on the brink of growing up."

Mrs Stone changed from a famous, rich American actress to a notorious, very rich American widow. But the transition took years and all that time her youth and legendary beauty slipped away. Frantic, she decides to take a lover, a young and very handsome Italian, being prepared to invest in his body for good return.

The "Heinemann Plays" series offers contemporary drama and classic plays in classroom editions. Many have large casts and an equal mix of boy and girl parts. This play depicts the conflict between a fading Southern belle and the brash lower-class society of her sister's family.