New Releases by Tennessee Williams

THE STORY: The scene is a beach shack on Cape Cod, during the summer of 1940, where August, a fledgling playwright, is rewriting the play intended for his Broadway debut. He is distracted by his infatuation for Kip, a handsome Canadian dancer and d

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Williams’ Collected Stories combines the four short-story volumes published during Williams’ lifetime with previously unpublished or uncollected stories.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 Roman Spring of Mrs. Stone is vintage Tennessee Williams.

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.

This book is William''s symbol for the military-industrial complex and all the dehumanizing trends it represents from mindless cocktail party chatter to bribery of officials to assassination plots directed against those who won''t play the game, to attempted coups by right-wing zealots.

The interviews selected for this volume encompass five decades of an intense literary life and range from the standard and well-known to the more obscure and specialized. The interviews are filled with revealing insights into Williams'' works and career. Most of them employ the essay-interview format. The three dozen or so interviews in this volume have been chosen, in part, to retrace the progress of Williams'' long career by marking important dramatic productions and documenting telling moments in his personal and artistic life. ISBN 0-87805-263-1 (pbk.): $14.95.

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.

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."

A classic play by Tennessee Williams in a definitive, author-approved edition. 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.

The very title of Sweet Bird of Youth is one of ironic pity. The two chief characters--a raddled has-been actress from Hollywood, seeking to forget her present in drugs and sex, and her still handsome masseur-gigolo, who has brought her to his hometown in the South, believing that through her money and faded glamor his gaudy illusions may yet come true--are the reverse side of the American dream of youth. Yet as they work out their fate amid violence and horror, there is nevertheless a note of compassion for the damned.

An alternate version of an experimental, partially autobiographical play by Tennessee Williams. The characters, Felice and Clare, are two actors on tour, as well as brother and sister. Left behind by the rest of the company, they try to present a show, making up what has been forgotten or not yet written.

Set in a run down bar on the Southern California coast, where a group of lonely and disparate individuals, rejected by "normal" society, come together in their need for human contact and understanding. One by one, each tells his story, revealing the desperate emptiness of his existence.

Theatre of Tennessee Williams Vol. 2. The Eccentricities of a Nightingale, Summer and Smoke, The Rose Tattoo, and Camino Real.

Three people - a tubercular man, his foolish new wife, and his virile half-brother - are caught in an isolated farmhouse in the path of a Mississippi flood.

Here are the eleven remarkable stories of Tennessee Williams''s first volume of short fiction, originally published in 1948 and reissued as a paperbook in response to an increasingly insistent public demand. It was this book which established Williams as a short story writer of the same stature and interest he had shown as a dramatist. Each story has qualities that make it memorable. In "One Arm" we live through his last hours and memories with a ''rough trade" ex-prizefighter who is awaiting execution for murder. "The Field of Blue Children" explores some of the strange ways of the human heart in love, "Portrait of a Girl in Glass" is a luminous and nostalgic recollection of characters who figure in "The Glass Menagerie," while "Desire and the Black Masseur" is an excursion into the logic of the macabre. "The Yellow Bird," well known through the author''s recorded reading of it, which tells of a minister''s daughter who found a particularly violent but satisfactory way of expiating a load of inherited puritan guilt, may well become part of American mythology.

What follows is a story unlike anything Tennessee Williams has written before, a fable with a moral that is both a parody of espionage thrillers and a burlesque satire on our destruction-oriented society. The message of the "The Knightly Quest" is deadly serious, but the telling of it is hilarious comedy.

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.

Collection of thirteen short plays by American playwright Tennesse Williams, originally written in the mid-20th century.

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. ufeffTennessee Williams''s fame as a playwright has unjustly overshadowed his accomplishment in poetry. This paperback edition of In The Winter of Cities-his collected poems to 1962-permits a wider audience to know Williams the poet. The poems in this volume range from songs and short lyrics to personal statements of the greatest intensity and power. They are rich in imagery and illuminated by the psychological intuition which we know so well from Williams''s plays.

This is the first collection of short stories by Williams ever to be published in England. It shows every facet of this author''s remarkable talent - his tenderness as in The Field of Blue Children, his capacity to shock in the terrifying One Arm, his gift for the macabre in The Coming of Something to the Widow Holly, his uncanny ability to get under the skins of sexual perverts in the pathetic but enormously amusing Two on a Party, and there can seldom have been a more persuasive portrait of a man going to pieces than Brick Pollitt in the volume''s title story.