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If you are looking for a well organized overview of TW's life and career, look somewhere else. For someone truly interested in Tennessee Williams, I would suggest first reading a biography of him, and if you are still interested, read this to find out what made this man tick, what made this man get out of bed each day and write, and what a (....) guy he was. This is a nitty-gritty, confessional look inward at the personal aspects and thoughts of the life of a very talented writer.
I am sure what shocked his public when it was published in 1975 was his frank description of his love life and sexual affairs. For Ernest Hemingway it was okay to describe his love life because he was straight, but for a gay man it was (and still largely is) expected to be kept discreetly sub-rosa. But Tennessee was not ashamed of his nature and not ashamed of his life and in that way this memoir (and his life itself) is an act of cultural defiance. It pours out in a fairly disjointed stream of recollections. To be honest, it reads like a rough-draft that needs a lot of editing and filling in. But all-in-all, the inherent drama, passion and thirst for life itself jump out of the page and carry one through to the end and you can't help but be touched by his humanity and his passion and his drive to express himself through his art.
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"Memoirs" Feature
- ISBN13: 9780811216692
- Condition: New
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"Memoirs" Overview
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. When Memoirs was first published in 1975, it created quite a bit of turbulence in the mediathough long self-identified as a gay man, Williams' candor 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 "a raw display of private life" by The New York Times Book Review. As it turns out, 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 "starving artist," the "overnight" 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.
And, of course, Memoirs is filled with Williams' amazing friends from the worlds of stage, screen, and literature as heoften hilariously, sometimes fondly, sometimes notremembers them: Laurette Taylor, Gore Vidal, Truman Capote, Elia Kazan, Marlon Brando, Vivian Leigh, Carson McCullers, Anna Magnani, Greta Garbo, Elizabeth Taylor, and Tallulah Bankhead to name a few. And now film director John Waters, well acquainted with shocking the American public, has written an introduction that gives some perspective on the various reactions to Tennessee's Memoirs, while also paying tribute to a fellow artist who inspired many with his integrity and endurance.
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