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Us dramatist, b. Thomas Lanier Williams, Mississippi, son of a traveling salesman, St


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A Bibliography of Literary Theory, Criticism and Philology



http://www.unizar.es/departamentos/filologia_inglesa/garciala/bibliography.html

by José Ángel García Landa

(University of Zaragoza, Spain)


Tennessee Williams (1911-1983)

(US dramatist, b. Thomas Lanier Williams, Mississippi, son of a traveling salesman, St. Louis 1918-, U of Missouri, worker, nervous breakdown, then Washington U and U of of Iowa, writer under name Tennessee, lived around USA and Mexico, success with Glass Menagerie. Homosexual relationships with Donald Windham and others; wild gay lifestyle, literary prestige decayed in later career, increasing interest in sadism and violence, self-destructive and addictive old age)




Works




1930s
Williams, Tennessee. "Beauty Is the Word." 1930. The Missouri Review 7 (1984): 187-95.

_____. "Hot Milk at Three in the Morning." 1931. The Missouri Review 7 (1984): 196-200.

_____. Candles to the Sun. Full-length play. 1st prod. The Mummers of St Louis.

_____. Fugitive Kind. Full-length play. 1st prod. The Mummers of St Louis.

_____. Spring Storm. Full-length play. Read at E. C. Mabie's seminar in playwriting, U of Iowa.

_____. American Blues. (5 one-act plays). 1939. In American Blues: Five Short Plays. New York: New Dramatists Play Service, 1948.



1940s
_____. Battle of Angels. Drama. 1940, pub. 1945.

_____. Battle of Angels. In Orpheus Descending, with Battle of Angels: Two Plays. New York: New Directions, 1958.

_____. 27 Wagons Full of Cotton. One-act play. In Williams, Plays / 27 Wagons Full of Cotton and Other One-act Plays. (A New Directions Paperbook). New York: New Directions, 1966.

_____. The Glass Menagerie. Drama. 1st performed 1944.

_____. The Glass Menagerie. New York: Random House, 1945. (1st pub.).

_____. The Glass Menagerie. New York: New Directions, 1949.

_____. The Glass Menagerie. In The Norton Introduction to Literature. 3rd ed. New York: Norton, 1973.

_____. The Glass Menagerie. In A Streetcar Named Desire and Other Plays. Ed. E. Martin Browne. London: Penguin / Secker & Warburg, 1962. 1986. ([1992?] printing

_____. The Glass Menagerie. In Perrine's Literature: Structure, Sound, and Sense. By Thomas R. Arp and Greg Johnson. 8th ed. Boston (MA): Thomson Learning-Heinle & Heinle, 2002. 1234-90.*

_____. The Glass Menagerie. Ed. E. Martin Browne. Harmondsworth : Penguin Books, 1988.

_____. The Glass Menagerie. Introd. Robert Bray (vii-xv). New York: New Directions, 1999.

_____. El zoo de cristal. Trans. León Mirlas. Prologue by Josep A. Vidal. Buenos Aires and Madrid: Losada, 2003. (Teatro, 6)

_____."Production Notes." In The Glass Menagerie. New York: New Directions, 1999. xix-xxii.

_____. "The History of a Play (With Parentheses)." 1945. In Dictionary of Literary Biography, Documentary Series Volume 4: Tennessee Williams. Ed. Margaret A. Van Antwerp and Sally Johns. Detroit: Gale Research Company, 1984. 44-50.

_____. 27 Wagons Full of Cotton. 11 one-act plays. Pub. 1946.

_____. 27 Wagons Full of Cotton and Other One-act Plays. (A New Directions Paperbook). New York: New Directions, 1966.

_____. A Streetcar Named Desire. Drama. New York: New Directions, 1947.

_____. A Streetcar Named Desire. New York: Signet, 1958.

_____. A Streetcar Named Desire In A Streetcar Named Desire and Other Plays. Ed. E. Martin Browne. London: Penguin / Secker & Warburg, 1962. 1986. ([1992?]printing).

_____. Summer and Smoke. 1947. New York: New Directions, 1948. (Rev. as The Eccentricities of a Nightingale).

_____. Summer and Smoke. Drama. In Williams, Period of Adjustment. Summer and Smoke. Small Craft Warnings. (Penguin Plays). Harmondsworth: Penguin, 1982.

_____. American Blues: Five Short Plays. New York: New Dramatists Play Service, 1948.

_____. Letter to Eric Bentley. 12 July 1948. Tennessee Williams Papers. Harry Ransom Humanities Research Center, University of Texas at Austin.

_____. One Arm. Fiction. 1948, rev. 1954.



1950s
_____. The Roman Spring of Mrs. Stone. Novella. 1950. (Actress and gigolo).

_____. The Rose Tattoo. Drama. 1st prod. by Cheryl Crawford, Erlanger Theatre, Chicago, Dec. 1950.

_____. The Rose Tattoo. New York: New Directions, 1951.

_____. The Rose Tattoo. London: Secker and Warburg, 1954.

_____. The Rose Tattoo. Camino Real. Harmondsworth: Penguin, 1958. 1968.

_____. The Rose Tattoo. In The Rose Tattoo. Camino Real. Orpheus Descending. (Penguin Plays). Harmondsworth: Penguin, 1976.* (9-113). 1983.*

_____. "The Timeless World of a Play." Foreword to The Rose Tattoo. In Williams, The Rose Tattoo. Camino Real. Orpheus Descending. (Penguin Plays). Harmondsworth: Penguin, 1976. 11-14.*

_____. "The Timeless World of a Play." In Perspectives on Drama. Ed. J. L. Calderwood and H. E. Toliver. New York: Oxford UP, 1968. 247-50.*

_____. I rise in Flame, Cried the Phoenix. Drama. 1951. (On the death of D. H. Lawrence).

_____. Camino Real. Drama. 1953.

_____. Camino Real. In Williams, The Rose Tattoo. Camino Real. Harmondsworth: Penguin, 1958. 1968.

_____. Camino Real. New York: New Directions, 1970.

_____. Camino Real. Foreword by John Whiting. In The Rose Tattoo. Camino Real. Orpheus Descending. (Penguin Plays). Harmondsworth: Penguin, 1976 (115-233).* 1983.* (With author's foreword, 119-23, 1st pub. in New York Times 15 March 1953).

_____. Hard Candy. Fiction. 1954.

_____. Orpheus Descending. Drama. 1955. (Rev. version of Battle of Angels). In Orpheus Descending, with Battle of Angels: Two Plays. New York: New Directions, 1958.

_____. Orpheus Descending. Secker and Warburg, 1958.

_____. Orpheus Descending. In Best American Plays, Fifth series: 1957-1963. Ed. John Gassner. New York: Crown Publishers, 1968.

_____. Orpheus Descending. In Williams, Plays: Selected Plays: Orpheus Descending; Something Unspoken; Suddenly Last Summer. Harmondsworth: Penguin, 1961.

_____. Orpheus Descending. In Williams, The Rose Tattoo. Camino Real. Orpheus Descending. Introd. E. Martin Browne. (Penguin Plays). Harmondsworth: Penguin, 1976.* 1983.*

_____. "The Past, the Present, and the Perhaps." New York Times. Rtp. as foreword to Orpheus Descending. In Williams, The Rose Tattoo. Camino Real. Orpheus Descending. Introd. E. Martin Browne. (Penguin Plays). Harmondsworth: Penguin, 1976. 237-41.*

_____. Cat on a Hot Tin Roof. Drama. New York: New Directions, 1955. (Pulitzer Prize).

_____. Cat on a Hot Tin Roof. London: Secker and Warburg, 1956.

_____. Cat on a Hot Tin Roof. In Cat on a Hot Tin Roof and Other Plays. Harmondsworth: Penguin, 1976.*

_____. Cat on a Hot Tin Roof. New York: Signet, 1985.

_____. La gata sobre el tejado de zinc caliente. Trans. Ana Diosdado. (Colección Escena). Madrid: Ediciones MK, 1983.

_____. La gata sobre el tejado de zinc caliente. Foreword by Antonio Álamo. Trans. José Díaz. (Millenium. Las 100 joyas del milenio ; 94). Madrid : Bibliotex, 1999

_____. In the Winter of Cities. Poems. 1956.

_____. Baby Doll. Film script. 1956. (Based on two of his one-act plays).

_____. Garden District. (Production of 2 plays, Suddenly Last Summer and Something Unspoken).

_____. Suddenly Last Summer. New York: New Directions, 1958. (On homosexuality, sadism and cannibalism),

_____. Suddenly Last Summer. In Williams, Plays: Selected Plays: Orpheus Descending; Something Unspoken; Suddenly Last Summer. Harmondsworth: Penguin, 1961.

_____. Something Unspoken. Drama. 1958.

_____. Something Unspoken. In Williams, Plays: Selected Plays: Orpheus Descending; Something Unspoken; Suddenly Last Summer. Harmondsworth: Penguin, 1961.

_____. Sweet Bird of Youth. Drama. Dir. at Broadway by Elia Kazan, 1959. (Aging movie star's lover killed by jilted girlfriend's father).

_____. Sweet Bird of Youth. New York: New Directions, 1959.

_____. Sweet Bird of Youth. In A Streetcar Named Desire and Other Plays. Ed. E. Martin Browne. London: Penguin / Secker & Warburg, 1962 ([1992?] printing.

_____. Triple Play. Drama. 1959.

1960s
_____. Period of Adjustment. Drama. 1960.

_____. Period of Adjustment. High Point Over a Cavern. New York: New Directions, 1960.

_____. Period of Adjustment. Drama. In Williams, Period of Adjustment. Summer and Smoke. Small Craft Warnings. (Penguin Plays). Harmondsworth: Penguin, 1982.

_____. A Streetcar Named Desire and Other Plays. Ed. E. Martin Browne. London: Penguin / Secker & Warburg, 1962. (Penguin Plays). 1986. ([1992?] printing). (= A Streetcar Named Desire. The Glass Menagerie. Sweet Bird of Youth).

_____. Plays / 27 Wagons Full of Cotton and Other One-act Plays. (A New Directions Paperbook). New York: New Directions, 1966.

_____. The Eccentricities of a Nightingale. 1964. (Rev. version of Summer and Smoke). (Sexual maladjustment).

_____. Plays: Selected Plays: Orpheus Descending; Something Unspoken; Suddenly Last Summer. Harmondsworth: Penguin, 1961.

_____. The Night of the Iguana. Drama. 1st performed New York, 1961. (Based on an earlier short story).

_____. The Night of the Iguana. In Best American plays. Fifth series, 1957-1963. Ed. John Gassner. New York: Crown Publishers, 1968.

_____. The Night of the Iguana. In Cat on a Hot Tin Roof and Other Plays. Harmondsworth: Penguin, 1976. 1984.* 1986.*

_____. Slapstick Tragedy. 2 short plays, The Mutilated and The Gnädige Fräulein. 1965.

_____. The Knightly Quest. SF novella and 4 stories. 1966.

_____. Teatro: Antología: Piezas cortas. (El libro de bolsillo; Literatura, 102). Madrid: Alianza, 1967.

_____. Un empeño caballeresco. Ediciones de Bolsillo.

_____. Kingdom of Earth. Drama. 1968. (Acted in shortened form as The Seven Descendetns of Myrtle). (On a dying transvestite).

_____. In the Bar of a Tokyo Hotel. Drama. 1969. (Disillusioned play on a painter).

_____. The Two-Character Play, 1969. (On two deserted actors).

1970s
_____. Small Craft Warnings. Drama. 1972.

_____. Small Craft Warnings. In Williams, Period of Adjustment. Summer and Smoke. Small Craft Warnings. (Penguin Plays). Harmondsworth: Penguin, 1982.

_____. Outcry. 1973. New version of The Two-Character Play.

_____. Eight Mortal Ladies Possessed. Fiction. 1974.

_____. Memoirs. 1975.

_____. Moise and the World of Reason. New York: Simon, 1975. (On old homosexual writer reminiscing).

_____. The Milk Train Doesn't Stop Here Anymore. In Cat on a Hot Tin Roof and Other Plays. Harmondsworth: Penguin, 1976. 1984.* 1986.*

_____. The Rose Tattoo. Camino Real. Orpheus Descending. Introd. E. Martin Browne. (Penguin Plays). Harmondsworth: Penguin, 1976.* 1983.*

_____. Cat on a Hot Tin Roof and Other Plays. (Penguin plays). Harmondsworth: Penguin, 1976.* 1984.* 1986.* (= Cat on a Hot Tin Roof. The Milk Train Doesn't Stop Here Anymore. The Night of the Iguana).

_____. Androgyne, Mon Amour. Poems. 1977.

_____. Letters to Donald Windham. Ed. Donald Windham. 1977.

_____. Where I Live: Selected Essays. New York: New Directions, 1978.



1980s
_____. Will Mr Merriwether Return from Memphis? Drama. Produced 1980. 1st pub. Missouri Review (c. 1998).

_____. Period of Adjustment. Summer and Smoke. Small Craft Warnings. (Penguin Plays). Harmondsworth: Penguin, 1982.

_____. "Tent Worms." Short story. In Sudden Fiction: American Short-Short Stories. Ed. R. Shapard and J. Thomas. Salt Lake City: Peregrine Smith, 1986. 96-100.*
1990s
_____. Five o'clock Angel: Letters of Tennessee Williams to Maria St. Just 1948-1982. With commentary by Maria St. Just. Preface by Elia Kazan. Epitaph by Marlon Brando. London: Andre Deutsch, 1991.

_____. The Selected Letters of Tennessee Williams. Vol. 1: 1920-1945. Ed. Albert J. Devlin and Nancy M. Tischler. New York: New Directions, 2000.

_____."Found Text: Tennessee Williams: Will Mr. Merriwether Return From Memphis?" Missouri Review 20.2 (1997): 79-131.


Collaborations

Williams, Tennessee, and Donald Windham. You Touched Me! Drama, adaptation of a story by D. H. Lawrence. 1947.



On Tennessee Williams

Biography

Calmer, Charles. "Tennessee's Year at Iowa: 1937-38." A Tennessee Williams Summer. June Playbill [Iowa City, IA; University of Iowa Theatres.] 63.7 (June 1984): 16-19.

Van Antwerp, Margaret A., and Sally Johns, eds. Dictionary of Literary Biography, Documentary Series Volume 4: Tennessee Williams. Detroit: Gale Research Company, 1984.

Criticism
Adler, Thomas P. "Tennessee Williams's 'Personal Lyricism': Toward an Androgynous Form." In Realism and the American Dramatic Tradition. Ed. William W. Demastes. Tuscaloosa: U of Alabama P, 1996. 172-88.

Aguilera Linde, Mauricio D. "Spaceships and Vampires: Sexual Dissidence in Tennessee Williams's 'The Knightly Quest'." Atlantis 34.2 (Dec. 2012): 67-83.*

Aguilera Linde, Mauricio, and Laura Torres Zúñiga. "'The first thing I see. Desire is': Tennessee Williams y sus personajes femeninos." In De habitaciones propias y otros espacios conquistados: Estudios sobre mujeres y literatura en lengua inglesa en homenaje a Blanca López Román. Ed. Margarita Carretero González, Mª Elena Rodríguez Martín and Gerardo Rodríguez Salas. Granada: Servicio de Publicaciones de la Universidad de Granada, 2006.

Bigsby, Christopher W. E. A Critical Introduction to Twentieth-Century American Drama: Williams/Miller/Albee. Cambridge: Cambridge UP, 1984. 1987.*

Boxill, Roger. Tennessee Williams. (Modern Dramatists Series). New York: St. Martin's, 1987.

Broussard, Louis. American Drama: Contemporary Allegory from Eugene O'Neill to Tennessee Williams. Norman: U of Oklahoma P, 1962.

Brandt, George. "Cinematic Structure in the Work of Tennessee Williams." In American Theatre. Ed. John Russell Brown and Bernard Harris. (Stratford-upon-Avon Studies 10). London: Edward Arnold, 1967. 163-87.

Cohn, Ruby. "Tennessee Williams: The Last Two Decades." In The Cambridge Companion to Tennessee Williams. Ed. Matthew C. Roudané. Cambridge: Cambridge UP, 1997. 232-43.

Corrigan, Mary Ann. "Beyond Verisimilitude: Echoes of Expressionism in Williams' Plays." In Tennessee Williams: A Tribute. Ed. Jac Tharpe. Jackson: University Press of Mississippi, 1977. 375-412.

Crandell, George W. "'Echo Spring': Reflecting the Gaze of Narcissus in Tennesee Williams's Cat on a Hot Tin Roof." Modern Drama 42.3 (2000): 427-41.

Debusscher, Gilbert."Tennessee Williams' Lives of the Saints: A Playwright's Obliquity." In Stephen S. Stanton, ed., Tennessee Williams: A Collection of Critical Essays. Englewood Cliffs (NJ): Prentice-Hall, 1977.

Estévez Fuertes, Nicolás. "The Impact of Tennessee Williams' Theatre on the Spanish Press and Review Literature after the Spanish Civil War." In First International Conference on English Studies: Past, Present and Future: Costa de Almería, 19-25 de Octubre, 1997. Ed. Annette Gomis et al. CD-ROM. Almería: U de Almería, n.d. [2001]*

Falk, Signi. Tennessee Williams. (Twayne's United States Authors Series, 10.) 2nd ed. Ed. Sylvia E. Bowman. Boston: Twayne, 1978.

Fernández Morales, Marta. "Domestic Violence in Drama: Revisiting the Character of Stella in A Streetcar Named Desire." In Actas del 25º Congreso AEDEAN, Granada 2001. CD-ROM. Granada: U de Granada: Departamento de Filología Inglesa, 2002.*

Fleche, Anne. "The Space of Madness and Desire: Tennessee Williams and Streetcar." Modern Drama 38.4 (Winter 1995): 496-509.*

Gómez García, Asunción. "Tennessee Williams, dramaturgo sureño." Atlantis 9 (1987): 115-22.*

Griffin, Alice. Understanding Tennessee Williams. Columbia: U of South Carolina P, 1995.

Hale, Allean. "Early Williams: The Making of a Playwright." In The Cambridge Companion to Tennessee Williams. Matthew C. Roudané. Cambridge: Cambridge UP, 1997. 11-28.

Hayes, Richard Review of Camino Real. By Tennessee Williams. Commonweal, 17 April 1953.

Hayman, Ronald. Tennessee Williams: Everyone Else Is an Audience. New Haven: Yale UP, 1993.

Jackson, Esther Merle. The Broken World of Tennessee Williams. Madison: U of Wisconsin P, 1965.

Jacobs, Richard. "Williams's Drama: Realism in the Theatre, Policing the Allowable on Stage and in Film." In Jacobs, A Beginner's Guide to Critical Reading. London: Routledge, 2001. 412-44.*

Kramer, Richard E. "'The Sculptural Drama': Tennessee Williams's Plastic Theatre." The Tennessee Williams Annual Review 5 (2002).*

http://www.tennesseewilliamsstudies.org/archives/2002/3kramer.htm

09/07/2004

Krasner, David, ed. A Companion to Twentieth-Century American Drama. (Blackwell Companions to Literature and Culture). Oxford: Blackwell, 2004. (Williams, Miller, O'Neill, Gertrude Stein, etc.).

Larson, June Bennett. "Tennessee Williams: Optimistic Symbolist." In Tennessee Williams: A Tribute. Ed. Jac Tharpe. Jackson: UP of Mississippi, 1977. 413-28.

Leverich, Lyle. Tom: The Unknown Tennessee Williams. New York: Crown, 1995.

Lorés Sanz, Rosa. "The Applicability of Linguistic Politeness Studies to Translation: A Case Study." Miscelánea 19 (1998): 89-109.*

Maddison, Stephen. Fags, Hags and Queer Sisters: Gender Dissent and Heterosocial Bonding in Gay Culture. Houndmills: Macmillan, 2000. (A Streetcar Named Desire, Maurice, Pulp Fiction, Jarman's Edward II, Women on the Edge of a Nervous Breakdown).

Matthews, Honor. The Primal Curse: The Myth of Cain and Abel in the Theatre. New York: Schocken, 1967.

Maufort, Marc. "The Power of Theatrical Discourse in a Belgian Production of The Glass Menagerie." Gramma 2 (1994): 111-18.

Mora González, Lucía. "Nueve obras en un acto de Tennessee Williams: El espacio escenográfico en el teatro breve del dramaturgo sureño." Epos 8 (1992): 505-14.

Murphy, Brenda. Tennessee Williams and Elia Kazan: A Collaboration in the Theatre. 1992.

Nathan, George Jean. "Monthly Critical Review." In Theatre Arts (June 1953).

Neumann, Claus-Peter. "Tennessee Williams's Plastic Theatre: Camino Real." Journal of American Drama and Theatre 6.2-3 (Spring/Fall 1994): 93-111.

Porter, T. "La desaparición del viejo sur: Un tranvía llamado deseo." In Porter, El mito y el teatro norteamericano moderno. Buenos Aires: Juan Goyanarte, 1972.*

Roudané, Matthew C., ed. The Cambridge Companion to Tennessee Williams. Cambridge: Cambridge UP, 1997. (Introd., 1-10).

Schneiderman, Leo. The Literary Mind: Studies in Psychoanalysis and Literature. New York: Human Sciences Press, 1988.

Schroder, Norman E. "Memory Plays: Historical and Narrative Analysis of Mediacy in First-Person Focalized Drama" (Williams, Tennessee; Shaffer, Peter; Friel, Brian). Diss. Bowling Green State U, 1994.

Singh, Abha. Contemporary American Drama: A Study in the Plays of Tennesse Williams, Arthur Miller, and Edward Albee. London: Sangam, 1998.

Tharpe, Jac, ed. Tennessee Williams: A Tribute. Jackson: University Press of Mississippi, 1977

Vidal, Gore. "Tennesse Williams: Alguien con quien reírse de los cavernícolas." In Vidal, Ensayos 1982-1988. Barcelona: Edhasa, 1991. 61-77.*

Weimer, Christopher Brian. "Journeys from Frustration to Empowerment: Cat on a Hot Tin Roof and its Debt to García Lorca's Yerma." Modern Drama 35.4 (1992).*

Zeineddine, Nada. Because It Is My Name: Problems of Identity Experienced by Women Artists and Breadwinners in the Plays of Henrik Ibsen, Tennessee Williams and Arthur Miller. London: Merlin, 1991.

Anthologies


Rodríguez Celada, Antonio, ed. Textos sobre teatro norteamericano. III, Tennessee Williams. Introd., trans. and notes by Antonio Rodríguez Celada. (Taller de estudios norteamericanos, 39). León: Universidad de León, 1998. (Bilingual ed.).

Stanton, Stephen S., ed., Tennessee Williams: A Collection of Critical Essays. Englewood Cliffs (NJ): Prentice-Hall, 1977.

Bibliography
Gunn, Drewey Wayne. Williams: A Bibliography. Metuchen (NJ): Scarecrow Press, 1980.

Documents


Tennessee Williams Papers. Harry Ransom Humanities Research Center, University of Texas at Austin.

Internet resources

"Tennessee Williams." Wikipedia: The Free Encyclopedia.*

http://en.wikipedia.org/wiki/Tennessee_Williams

2013


Journals
The Tennessee Williams Annual Review 5 (2002)

http://www.tennesseewilliamsstudies.org/

2004-07-15

Films
Cat on a Hot Tin Roof. With Paul Newman and Elizabeth Taylor.

The Night of the Iguana. Dir. John Huston. Based on the play by Tennessee Williams.

A Streetcar Named Desire. Dir. Elia Kazan. Based on Tennessee Williams's play. Cast: Marlon Brando, Vivien Leigh, Kim Hunter, Karl Malden.

_____. A Streetcar Named Desire / Un tranvia llamado deseo. VHS (Spanish subtitles). 1990s?




Music
Previn, André. A Streetcar Named Desire. Opera. Fleming - Futral – Gilfry - Dean Griffey - Forst - Lord – Gayer. San Francisco Opera Orchestra / André Previn. 3 CDs. (20/21). Hamburg: Deutsche Grammophon.


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