New Releases by Tennessee Williams

First published in 1947, ''A Streetcar Named Desire'' is an American play by Tennessee Williams, an American playwright, and screenwriter. Along with contemporaries Eugene O''Neill and Arthur Miller, he is considered among the three foremost playwrights of 20th-century American drama. It centers on a desolated woman named Blanche DuBois. Raised in Old South aristocratic traditions, she lived elegantly in the family homestead, married a man she adored, and pursued a career as an English teacher. But her life fell apart when she discovered that her husband, Allen Grey, was having a homosexual affair. Humiliated, he killed himself. Blanche sought comfort in the arms of other men, many men. After she had relations with one of her students, a 17-year-old, authorities learned of the encounter and fired her. Though scarred by her past, Blanche still tries to lead the life of an elegant lady and does her best, even lying when necessary, to keep up appearances. Top 10 Hardcover Library Books: A Wrinkle in Time (9789389440188) How to Stop Worrying and Start Living (9789387669161) Their Eyes Were Watching God (9789389440577) The Magic of Believing (9789388118217) Zen in the Art of Archery (9789354990298) A Cloud by Day, a Fire by Night (9789391181611) Siddhartha by Hermann hesse (9789387669116) The Richest Man in Babylon (9789354990717) The Book of Five Rings (9789389440553) The Knowledge of the Holy (9789389157239) Note: Search by ISBN

The peak of my virtuosity was in the one- act plays. Some of which are like firecrackers on a rope. Tennessee Williams Tennessee Williams''s lesser-known one-act plays reveal a tantalising and fascinating perspective to one of the world''s most important playwrights. Written between 1934 and 1980, the plays of the very young writer, then of the successful Tennessee Williams, and finally of the troubled man of the 1970s, this volume offers a panoramic yet detailed view of the themes, demons, and wit of this iconic playwright. The volume depicts American life during the Great Depression and after, populated by a hopelessly hopeful chorus girl, a munitions manufacturer ensnared in a love triangle, a rural family that deals "justice" on its children, an overconfident mob dandy, a poor couple who quarrel to vanquish despair, a young "spinster" enthralled by the impulse of rebellion, and, in The Magic Tower, a passionate artist and his wife whose youth and optimism are not enough to protect their ''dream marriage.'' This collection gathers some of Williams''s most exuberant early work and includes one-acts that he would later expand to powerful full-length dramas: ''The Pretty Trap,'' a cheerful take on The Glass Menagerie, and ''Interior: Panic,'' a precursor to A Streetcar Named Desire. Plays included are: At Liberty, The Magic Tower, Me, Vashya, Curtains for the Gentleman, In Our Profession, Every Twenty Minutes, Honor the Living, The Cast of the Crushed Petunias, Moony''s Kid Don''t Cry, The Dark Room, The Pretty Trap, Interior: Panic, Kingdom of Earth, I Never Get Dressed Till After Dark on Sundays and Some Problems for The Moose Lodge. The volume also features a foreword by Terence McNally.

What’s not to like about Tennessee Williams’s most forthright work about homosexual love, with its gay figure skaters, runaways, and sex? An erotic, sensual, and comic novel that was a generation ahead of its time, Moise and the World of Reason has at its center the need of three people for each other: Lance, the beautiful black figure skater full of love and lust for young men as well as a craving for drugs; the nameless gay young narrator, a runaway writer from Alabama who lives near the piers of New York City’s West Village, c. 1975, frantically filling notebooks with his observations; and Moise, a young woman who speaks in riddles and can never finish her paintings or consummate her affairs. The long unavailable Moise and the World of Reason represents a kind of uncensored Williams, radically frank, fully articulated, and deeply tender: a true gem.

All of the author''s previously published poems, including poems from the plays, are in this definitive edition that comes with a CD of the author reading some of his poems in his unmistakable Mississippi drawl. Few writers achieve success in more than one genre, and yet if Tennessee Williams had never written a single play he would still be known as a distinguished poet. The excitement, compassion, lyricism, and humor that epitomize his writing for the theater are all present in his poetry. It was as a young poet that Williams first came to the attention of New Directions’ founder James Laughlin, who initially presented some of Williams’ verse in the New Directions anthology Five Young American Poets 1944 (before he had any reputation as a playwright), and later published the individual volumes of Williams’s poetry, In the Winter of Cities (1956, revised in 1964) and Androgyne, Mon Amour (1977). In this definitive edition, all of the playwright’s collected and uncollected published poems (along with substantial variants), including poems from the plays, have been assembled, accompanied by explanatory notes and an introduction by Tennessee Williams scholars David Roessel and Nicholas Moschovakis. The CD included with this paperbook edition features Tennessee Williams reading, in his delightful and mesmerizing Mississippi voice, several of the whimsical folk poems he called his "Blue Mountain Ballads," poems dedicated to Carson McCullers and to his longtime companion Frank Merlo, as well as his long early poem, "The Summer Belvedere."

Social outcasts, misfit survivors, dangerous passions—Tennessee Williams fleshed out the characters and themes that would dominate his later work in Fugitive Kind, one of his earliest plays. 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.

A play produced only twice in the 1940s and now published for the first time reveals that Tennessee Williams anticipated the themes of Star Trek by decades. Sixty years ago a young Tennessee Williams wrote a play looking toward the year 2001. Stairs to the Roof is a rare and different Williams'' work: a love story, a comedy, an experiment in meta-theater, with a touch of early science fiction. Tennessee Williams called Stairs to the Roof "a prayer for the wild of heart who are kept in cages" and dedicated it to "all the little wage earners of the world." It reflects the would-be poet''s "season in hell" during the Depression when he had to quit college to type orders eight hours a day at the International Shoe Factory in St. Louis. Stairs is Williams'' revenge, expressed through his alter ego, Benjamin Murphy, the clerk who stages a one-man rebellion against the clock, the monotony of his eight-to-five job, and all the dehumanizing forces of an increasingly mechanized and commercial society. Ben''s swift-moving series of fantastic adventures culminate in an escape from the ordinary that is an endorsement of the American dream. In 1941 with the world at war and civilization in danger of collapse, Williams dared to imagine a utopian future as Ben leads us up his stairs towards the Millennium. Stairs to the Roof was produced only twice, once at the Playbox in Pasadena, California, in 1945, and subsequently at the Pasadena Playhouse in 1947. Now, in an edition meticulously prepared by noted Williams scholar Allean Hale, Williams fans can share this play of youthful optimism.

This early full-length play put a young Tennessee Williams'' passion for social justice in the spotlight. "Haunting, searing, unforgettable" —London Herald In early 1998, sixty years after it was written, one of Tennessee Williams'' first full-length plays, Not About Nightingales, was premiered by Britain''s Royal National Theatre and was immediately hailed as "one of the most remarkable theatrical discoveries of the last quarter century (London Evening Standard). Brought to the attention of the director Trevor Nunn by the actress Vanessa Redgrave (who has contributed a Foreword to this edition), "this early work...changed our perception of a major writer and still packs a hefty political punch" (London Independent). Written in 1938 and based on an actual newspaper story, the play follows the events of a prison atrocity which shocked the nation: convicts leading a hunger strike in a Pennsylvania prison were locked in a steam-heated cell and roasted to death. Williams later said: "I have never written anything since that could compete with it in violence and horror." Its sympathetic treatment of black and homosexual characters may have kept the play unproduced in its own time. But its flashes of lyricism and compelling dialogue presage the great plays Williams has yet to write. Not About Nightingales shows us the young playwright (for the first time using his signature "Tennessee") as a political writer, passionate about social injustice, and reflecting the plight of outcasts in Depression America. The stylistic influences of European Expressionism, radical American theatre of the 1930s, and popular film make it unique among the group of four early plays. Not About Nightingales has been edited by eminent Williams scholar Allean Hale, who has also provided an illuminating historical introduction.

Two of Tennessee Williams''s most revered dramas in a single paperback edition for the first time. 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.

Thirteen previously unpublished short plays now available for the first time. Tennessee Williams had a distinct talent for writing short plays and, not surprisingly, this remarkable new collection of never-before-published one-acts includes some of his most poignant and hilarious characters: the indefatigable, witty and tough drag queens of And Tell Sad Stories of the Deaths of Queens...; the strange little man behind the nom de plume Mister Paradise; and the extravagant mistress who cheats on her married man in The Pink Bedroom. Most were written in the 1930s and early 1940s when Williams was already flexing his theatrical imagination. Chosen from over seventy unpublished one-acts, these are some of Williams''s finest; several have premiered recently at The Hartford Stage Co., The Kennedy Center, the Manhattan Theatre Club and the Tennessee Williams/New Orleans Literary Festival. Included in this volume: These Are the Stairs You Got to Watch Mister Paradise The Palooka Escape Why Do You Smoke So Much, Lily? Summer At the Lake The Big Game The Pink Bedroom The Fat Man''s Wife Thank You, Kind Spirit The Municipal Abattoir Adam and Eve on a Ferry And Tell Sad Stories of the Deaths of Queens... Long associated with Williams, acclaimed stage and film actors Eli Wallach and Anne Jackson provide a fresh and challenging foreword for actors, directors, and readers.

This early play about coal miners struggling to improve their lives helped establish a young Tennessee Williams as a powerful new voice in American theater. The first full-length play by novice playwright Thomas Lanier Williams, Candles to the Sun opened on Thursday, March 18, 1937 and received rave reviews in the local press. The Mummers, a semi-professional and socially aware theater troupe in St. Louis, produced the play, and the combination of director Willard Holland''s theater of social protest and the young Williams'' talent for the dramatic depiction of poverty and its consequences proved irresistible to an audience eager for relevant social content. Set in the Red Hills coal mining section of Alabama, Candles to the Sun deals with both the attempts of the miners to unionize and the bleak lives of their families. Colvin McPherson of the St. Louis Post-Dispatch wrote that "Williams, a 25-year-old Washington University senior, is revealed not only as a writer of unusual promise but one of considerable technical skill right now . . . . His writing is rarely unsteady and his play has an emotional unity and robustness. It stands on its own feet. Its characters are genuine, its dialogue of a type that must have been uttered in the author''s presence, its appeal in the theater widespread." As it turns out, Tom Williams had never met a miner in his young life. As he did for another early Williams play, Spring Storm, Dan Isaac uses his directorial skills to prepare a text of Candles to the Sun that is faithful to the 1937 production while providing readers (and actors) with a social and theatrical context. William Jay Smith, former Poet Laureate of the United States and St. Louis friend of the playwright, has contributed an illuminating foreword that touches not only on his memories of the young Tom Williams and the original production of Candles, but also on the poetic nature of Williams'' writing as reflected in this play.

Born out of the journals the playwright kept at the time, Tennessee Williams''s Vieux Carré is not emotion recollected in tranquility, but emotion re-created with all the pain, compassion, and wry humor of the playwright''s own 1938-39 sojourn in the New Orleans French Quarter vividly intact. The drama takes it form from the shifting scenes of memory, and Williams''s surrogate self invites us to focus, in turn, on the various inhabitants or his dilapidated rooming house in the Vieux Carré: the comically desperate landlady, Mrs. Wire; Jane, a properly brought-up young woman from New York making at last grab at pleasure with Tye, the vulgar but appealing strip-joint barker; two decayed gentlewomen politely starving in the garret; and the dying painter Nightingale, who tries to teach the young writer something about love--both of the body and of the heart. This is a play about the education of the artist, and education in loneliness and despair, in giving and not giving, but most of all in seeing, hearing, feeling, and learning that "writers are shameless spies," who pay dearly for their knowledge and who cannot forget. Building on two decades of Williams scholarship since Vieux Carré was originally published, Robert Bray, editor of The Tennessee Williams Annual Review, has provided a new introduction for this edition, giving the most authoritative account yet of its background and genesis.

A taut, vivid drama of a voluptuous child-bridge who refuses to consummate her marriage to an older, down-on-his-luck cotton-gin owner. In 1956, Time magazine called Tennessee Williams’ Baby Doll "just possibly the dirtiest American-made motion picture that has ever been legally exhibited." The taut, vivid drama of a voluptuous child-bridge, who refuses to consummate her marriage to an older, down-on-his-luck cotton-gin owner in Tiger Tail County, Mississippi until she is "ready," has gained in humor and pathos over the years as society has caught up with the author’s savagely honest view of bigotry and lust in the rural South. But Tennessee Williams was first and foremost a writer for the stage, and this reissue of his original screenplay for the Elia Kazan movie of Baby Doll is now accompanied by the script of the full-length stage play, Tiger Tail, developed from that screenplay during the ’70s. The text, which incorporates the author’s final revisions, records the play as it was produced at the Hippodrome Theatre Workshop in Gainesville, Florida, in 1979.

Tennessee Williams returns to a pivotal moment in his stormy youth in Something Cloudy, Something Clear, which introducer Eve Adamson calls "a delicately woven tapestry of past and present, vulnerability and toughness, impetuous action and mature insight." Something Cloudy, Something Clear is, as Tennessee Williams stated, "one of the most personal plays I’ve ever written." Set in Provincetown, Cape Cod, in 1940, the play records Williams’ experiences during that "pivotal summer when I took sort of a crash course in growing up." On the brink of becoming a successful playwright, Williams was also to "come thoroughly out of the closet" and meet Kip, his first great love. Something Cloudy, Something Clearbrilliantly reimagines that long ago time, now recollected through the filter of all the playwright’s successes and failures, joys and regrets. Eve Adamson, director of the original 1981 production, provides an insightful introduction in which she captures the play’s heart-breaking appeal: "It is a delicately woven tapestry of past and present, vulnerability and toughness, impetuous action and mature insight. It seeks a reconciliation between love and art, life and death, and-to use two phrases which recur in the play––exigencies of desperation and negotiation of terms. The cloudy and the clear."

This late play by Tennessee Williams explores the troubled relationship between F. Scott and Zelda Fitzgerald. The late Tennessee Williams’s Clothes for a Summer Hotelmade its New York debut in 1980. Here Scott and Zelda Fitzgerald, often seen as symbols of the doomed youth of the jazz age, become two halves of a single creative psyche, each part alternately feeding and then devouring the other. Set in Highland Hospital near Asheville, North Carolina, where Zelda spent her last confinement, this "ghost play" begins several years after Scott’s death of a heart attack in California. But the past is "still always present" in Zelda, and Williams’s constant shifting of chronology and mixing of remembrance with ghostly re-enactment suggest that our real intimacy is with the shadow characters of our own minds. As Williams said in the Author’s Note to the Broadway production: "Our reason for taking extraordinary license with time and place is that in an asylum and on its grounds liberties of this kind are quite prevalent: and also these liberties allow us to explore in more depth what we believe is truth of character." Williams poses the inevitable, unanswerable questions: Did Scott prevent Zelda from achieving an independent creativity? Did Zelda’s demands force Scott to squander his talents and turn to alcohol? Whose betrayal––emotional, creative, sexual––destroyed the other? But he poses these questions in a new way: in the act of creation, Zelda and Scott are now aware of their eventual destruction, and the creative fire that consumed two artists combines symbolically with the fire that ended Zelda’s life.

Tennessee Williams freely adapts Anton Chekhov''s Russian classic "The Seagull". From the master twentieth-century playwright Tennessee Williams-an adaptation of Chekhov''s The Sea Gull, never before available to the general trade. The Notebook of Trigorin is faithful to Chekhov''s story of longing and unrequited love. Set on a provincial Russian Estate, its peaceful environs offer stark contrast to the turbulent lives of its characters. Constantine, a young writer, must compete for the attention of his mother, a self-obsessed, often comical aging actress, Madame Arkadina, and his romantic ideal, Nina. His rival for both women is Trigorin, an established author bound to Arkadina by her patronage of his work, and attracted to Nina by her beauty. Trigorin cannot keep himself from consuming everything of value in Constantine''s life. Only in the final scenes do all discover that the price for love and fragility can be horribly high. But if the words in The Notebook of Trigorin are essentially Chekhov''s, the voice belongs firmly to Tennessee Williams. The dialogue resonates with echoes of the themes Williams developed as his signatures-compassion for the artistic soul and its vulnerability in the face of the world''s "successfully practiced duplicity" (Act I).

In this masterful play, Tennessee Williams explores the meaning of loneliness and the need for human connection through the lens of four women and the designs and desires they harbor—for themselves and for each other. It is a warm June morning in the West End of St. Louis in the mid-thirties––a lovely Sunday for a picnic at Creve Coeur Lake. But Dorothea, one of Tennessee Williams’s most engaging "marginally youthful," forever hopeful Southern belles, is home waiting for a phone call from the principal of the high school where she teaches civics––the man she expects to fulfill her deferred dreams of romance and matrimony. Williams’s unerring dialogue reveals each of the four characters of A Lovely Sunday for Creve Coeur with precision and clarity: Dorothea, who does even her "setting-up exercises" with poignant flutters; Bodey, her German roommate, who wants to pair Dotty with her beer-drinking twin, Buddy, thereby assuring nieces, nephews, and a family for both herself and Dotty; Helena, a fellow teacher, with the "eyes of a predatory bird," who would like to "rescue" Dotty from her vulgar, common surroundings and substitute an elegant but sterile spinster life; and Miss Gluck, a newly orphaned and distraught neighbor, whom Bodey comforts with coffee and crullers while Helena mocks them both. Focusing on one morning and one encounter of four women, Williams once again skillfully explores, with comic irony and great tenderness, the meaning of loneliness, the need for human connection, as well as the inevitable compromises one must make to get through "the long run of life."

This definitive collection establishes Williams as a major American fiction writer of the twentieth century. Tennessee Williams’ Collected Stories combines the four short-story volumes published during Williams’ lifetime with previously unpublished or uncollected stories. Arranged chronologically, the forty-nine stories, when taken together with the memoir of his father that serves as a preface, not only establish Williams as a major American fiction writer of the twentieth century, but also, in Gore Vidal’s view, constitute the real autobiography of Williams’ "art and inner life."

The thirteen one-act plays collected in this volume include some of Tennessee Williams''s finest and most powerful work. They are full of the perception of life as it is, and the passion for life as it ought to be, which have made The Glass Menagerie and A Streetcar Named Desire classics of the American theater. Only one of these plays (The Purification) is written in verse, but in all of them the approach to character is by way of poetic revelation. Whether Williams is writing of derelict roomers in a New Orleans boarding house (The Lady of Larkspur Lotion) or the memories of a venerable traveling salesman (The Last of My Solid Gold Watches) or of delinquent children (This Property is Condemned), his insight into human nature is that of the poet. He can compress the basic meaning of life—its pathos or its tragedy, its bravery or the quality of its love—into one small scene or a few moments of dialogue. Mr. Williams''s views on the role of the little theater in American culture are contained in a stimulating essay, "Something wild...," which serves as an introduction to this collection.

Now published for the first time as a trade paperback with a new introduction and the short story on which it was based. Williams wrote: “This is a play about love in its purest terms.” It is also Williams’s robust and persuasive plea for endurance and resistance in the face of human suffering. The earthy widow Maxine Faulk is proprietress of a rundown hotel at the edge of a Mexican cliff overlooking the Pacific Ocean where the defrocked Rev. Shannon, his tour group of ladies from a West Texas women’s college, the self-described New England spinster Hannah Jelkes and her ninety-seven-year-old grandfather, Jonathan Coffin (“the world’s oldest living and practicing poet”), a family of grotesque Nazi vacationers, and an iguana tied by its throat to the veranda, all find themselves assembled for a rainy and turbulent night. This is the first trade paperback edition of The Night of the Iguana and comes with an Introduction by award-winning playwright Doug Wright, the author’s original Foreword, the short story “The Night of the Iguana” which was the germ for the play, plus an essay by noted Tennessee Williams scholar, Kenneth Holditch. “I’m tired of conducting services in praise and worship of a senile delinquent—yeah, that’s what I said, I shouted! All your Western theologies, the whole mythology of them, are based on the concept of God as a senile delinquent and, by God, I will not and cannot continue to conduct services in praise and worship of this…this…this angry, petulant old man.” —The Rev. T. Lawrence Shannon, from The Night of the Iguana

"Summer and Smoke" is a two-part, thirteen-scene play by Tennessee Williams, originally titled Chart of Anatomy when Williams began work on it in 1945. In 1964, Williams revised the play as "The Eccentricities of a Nightingale.""Summer and Smoke" is set in Glorious Hill, Mississippi from the "turn of the century through 1916," and centers on a high-strung, unmarried minister''s daughter, Alma Winemiller, and the spiritual/sexual romance that nearly blossoms between her and the wild, undisciplined young doctor who grew up next door, John Buchanan, Jr. She, ineffably refined, identifies with the gothic cathedral, "reaching up to something beyond attainment"; her name, as Williams makes clear during the play, means "soul" in Spanish; whereas Buchanan, doctor and sensualist, defies her with the soulless anatomy chart. By play''s end, however, Buchanan and Alma have traded places philosophically.Fuji Books'' edition of "Summer And Smoke" contains supplementary texts:* "I Rise In Flame, Cried The Phoenix", a one-act play by Tennessee Williams which presents a fictionalized version of the death of English writer D. H. Lawrence on the French Riveria; Lawrence was one of Williams'' chief literary influences.* An excerpt from "The Glass Menagerie", by Tennessee Williams.* A few selected quotes of Tennessee Williams.

This new volume gathers some of Williams'' most exuberant early work and includes one-acts that he would later expand to powerful full-length dramas, including "The Pretty Trap," a cheerful take on "The Glass Menagerie," and "Interior: Panic," a stunning precursor to "A Streetcar Named Desire."

"There isn''t a dull or conventional page, or an unlovely sentence in the book."--Scott Eyman, The Palm Beach Post

These three dramatic works by Tennessee Williams explore the darker side of human nature and are haunted by a sense of isolation and regret.

''He is, quite simply, indispensable'' Peter Shaffer 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. Sweet Bird of Youth/Period of Adjustment/The Night of the Iguana

The spellbinding last full-length play produced during the author''s lifetime is now published for the first time.

For the "old crocodile," as Williams called himself late in life, the past was always present, and so it is with his continual shifting and intermingling of times, places, and memories as he weaves this story.

Meticulously edited and annotated, Tennessee Williams''s notebooks follow his growth as a writer from his undergraduate days to the publication and production of his most famous plays, from his drug addiction and drunkenness to the heights of his literary accomplishments.