One of the greatest American dramatists of the 20th century, Tennessee Williams is known for his sensitive characterizations, poetic yet realistic writing, ironic humor, and depiction, of harsh realties in human relationship. His work is frequently included in high school and college curricula, and his plays are continually produced. Critical Companion to Tennessee Williams includes entries on all of Williams's major and minor works, including A Streetcar Named Desire, Cat on a Hot Tin Roof, The Glass Menagerie, a novel, a collection of short stories, two poetry collections, and personal essays; places and events related to his works; major figures in his life; his literary influences; and issues in Williams scholarship and criticism. Appendixes include a complete list of Williams's works; a list of research libraries with significant Williams holdings; and a bibliography of primary and secondary sources.

A Streetcar Named Desire (1947) and Cat on a Hot Tin Roof (1955) are major plays by Tennessee Williams, one of America's most significant dramatists. They both received landmark productions and are widely-studied and performed around the world. The plays have also inspired popular screen adaptations and have generated a body of important and lasting scholarship. In this indispensable Reader's Guide, Thomas P. Adler: - Charts the development of the criticism surrounding both works, from the mid-twentieth century through to the present day - Provides a readable assessment of the key debates and issues - Examines a range of theoretical approaches from biographical and New Criticism to feminist and queer theory In so doing, Adler helps us to appreciate why these plays continue to fascinate readers, theatregoers and directors alike.

This Literary Life draws extensively from the playwright's correspondences, notebooks, and archival papers to offer an original angle to the discussion of Williams's life and work, and the times and circumstances that helped produce it.

An encyclopedic guide to the dramatist includes entries on Tennessee Williams's works and characters, influential people in his life, important places, and literary terms.

Offers advice on writing essays about the works of Tennessee Williams and lists sample topics.

This book is open access and available on www.bloomsburycollections.com. It is funded by Knowledge Unlatched. Perfect for students of English Literature, Theatre Studies and American Studies at college and university, The Theatre of Tennessee Williams provides a lucid and stimulating analysis of Willams' dramatic work by one of America's leading scholars. With the centennial of his birth celebrated amid a flurry of conferences devoted to his work in 2011, and his plays a central part of any literature and drama curriculum and uibiquitous in theatre repertoires, he remains a giant of twentieth century literature and drama. In Brenda Murphy's major study of his work she examines his life and career and provides an analysis of more than a score of his key plays, including in-depth studies of major works such as A Streetcar Named Desire, The Glass Menagerie, Cat on a Hot Tin Roof and others. She traces the artist figure who features in many of Williams' plays to broaden the discussion beyond the normal reference points. As with other volumes in Methuen Drama's Critical Companions series, this book features too essays by Bruce McConachie, John S. Bak, Felicia Hardison Londré and Annette Saddik, offering perspectives on different aspects of Williams' work that will assist students in their own critical thinking.

Few writers have brought more of their life into their works than famed playwright Thomas Lanier “Tennessee” Williams III. His characters have often served as proxies for himself, his mother, and especially his tragically unstable sister, Rose, who many consider to be the inspiration for Williams’s iconic female leads Blanche DuBois and Laura Wingfield. In this gripping new biography, Paul Ibell looks at Williams as a poet, playwright, brother, homosexual, alcoholic, drug addict, and, ultimately, a deeply passionate soul whose operatically intense plays were a vibrant reflection of life. Ibell discusses Williams’s early plays that have become household names: The Glass Menagerie, A Streetcar Named Desire, and Cat on a Hot Tin Roof. But he also rescues Williams’s later works from critical obscurity, uncovering overlooked values in them. He explores the importance of Europe on the Southerner’s imagination, following Williams and his companion—Gore Vidal—through holiday after holiday in Italy; and he looks, especially, at the theme for which Williams became most known: the power of sexual attraction and the tragedy of its loss when we—as we all must do—grow old. Punchy, accessible, and fabulously illuminating, this critical biography is a must-read for any admirer of American theater, literature, or the passionate lives of those who define them.

Tennessee Williams' characters set the stage for their own dramas. Blanche DuBois (A Streetcar Named Desire), arrived at her sister's apartment with an entire trunk of costumes and props. Amanda Wingfield (The Glass Menagerie) directed her son on how to eat and tries to make her daughter act like a Southern Belle. This book argues for the persistence of one metatheatrical strategy running throughout Williams' entire oeuvre: each play stages the process through which it came into being--and this process consists of a variation on repetition combined with transformation. Each chapter takes a detailed reading of one play and its variation on repetition and transformation. Specific topics include reproduction in Sweet Bird of Youth (1959), mediation in Something Cloudy, Something Clear (1981), and how the playwright frequently recycled previous works of art, including his own.

Tennessee Williams, T-shirt Modernism and the Refashionings of Theater reappraises the received wisdom that Williams’s work fell into decline in the late 1960 as the Naturalism he was associated with, not always through his own choice, was replaced by European theatrical experimentalism and as culture saw a lifting of sexual restrictions. It suggests, instead, that Williams was always experimental, always more Chekhov than Ibsen, a lyrical playwright inflected with the poetry of Harte Crane, and that his late plays are as central to Williams’s reshaping of American theater as those works of the immediate post–World War II era that brought him fame and fortune. Its general aim, then, is to engage the perception that “Tennessee Williams is the greatest unknown playwright America has produced” (David Savran, City University of New York). In many respects the work of Tennessee Williams, after a protracted period of neglect, is primed for reappraisal , reinterpretations and, subsequently, re-stagings. This work is part of that process, academically at very least, but performatively as well as academic reinterest often regenerates theatrical reinterest.

This book is the first comprehensive study of the reception of Tennessee Williams in China, from rejection and/or misgivings to cautious curiosity and to full-throated acceptance, in the context of profound changes in China’s socioeconomic and cultural life and mores since the end of the Cultural Revolution. It fills a conspicuous gap in scholarship in the reception of one of the greatest American playwrights and joins book-length studies of Chinese reception of Shakespeare, Ibsen, O’Neill, Brecht, and other important Western playwrights whose works have been eagerly embraced and appropriated and have had catalytic impact on modern Chinese cultural life.