Product Description

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 media—though 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 he—often hilariously, sometimes fondly, sometimes not—remembers 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.

Product Details

• Amazon Sales Rank: #130137 in Books
• Published on: 2006-10-15
• Original language: English
• Number of items: 1
• Binding: Paperback
• 368 pages

Features

• ISBN13: 9780811216692
• Condition: NEW
• Notes: Brand New from Publisher. No Remainder Mark.
• Click here to view our Condition Guide and Shipping Prices

About the Author
New Directions publishes Tennessee Williams' (1911-1983) letters, short stories, poems, essays, and over sixty of his plays including The Glass Menagerie, A Streetcar Named Desire, and Cat on a Hot Tin Roof. Director, screenwriter, and well-known raconteur of American kitsch and camp, John Waters' films include Pink Flamingos and Cecil B. Demented. In 2002 his film Hairspray was made into a hit Broadway musical.

Customer Reviews

Dear, Troubled Genius.
This book shocked and disappointed many upon its release in 1975. Many were expecting something resembling a predictable literary auto-biography, though, with the authors notorious history and reputation, should have been prepared for what they got instead. This is a fascinating book about and by the man many called genius, the author of "A Streetcar Named Desire", "The Glass Menagerie", "Cat On A Hot Tin Roof", "Sweet Bird Of Youth", "Night Of The Iguana", etc..., and the events in his life that help one better understand just how autobiographical many of his works were. From his upbringing by a tyrannical, indifferent father, who was disappointed in his "sissy" son, his overbearing mother, and his relationship with his lifelong, deepest love, his sister Rose, whose tragic mental illness and lobotomy froze her in time, and perhaps was the most important factor in his troubled life and his creative genius. He was all too human, in his relationships and insecurities. He exposes himself, warts and all, at once being an extremely sensitive, caring human being, who at other times in his life, could turn into an irrational, paranoid, abusive chore to be around. Substance abuse certainly played a major part in his progressive personal and professional demise, and he is brutally honest about that also. He is also unapologetic about the many promiscuous periods of his life, the bluntness of his recounting of sexual escapades usually so humorously told, that it defuses what could have been just vulgar bad taste, to some. His 14 year love relationship with Frank Merlo, who died of cancer in the early 1960's, was, aside from Rose, the most important relationship of his life. Though he and Merlo were estranged towards the end of Merlos life, then had a reconciliation just prior to his death, Tennessee was to never recover from the loss. He also tells about the beginning of his career, and certain pivitol moments in his professional life when, before fame and praise came, it was doubtful that the poor, struggling writer might ever find success. There are also wonderful first hand insights into his contact with the likes of Brando, Anna Magnani, Capote, to name a few. But, admittedly, this book is more about the man than the career. He readily concedes that he is not about to bore himself and some readers to death with chronological descriptions about the fruition of each play. As he says here: "The plays, what about them? If this was a book only about my plays, it would be a very short book. The plays speak for themselves". In fact, there is nothing chronological about this book. It was published about ten years before his tragic death, a period in his life that , after a brilliant career with successive hits, was marked by professional failure, the progression of which was publicly recorded by ,what many perceived to be, unusually aggressive critics who were intent on destroying him personally. If you're looking for a standard auto-bio of a literary career, you may be disappointed. But you also may enjoy, as I did, this wonderfully touching and often humourous book by a sad, troubled, brilliant human being, who battled with his demons his whole life, trying to give a voice to the lonely, the outcast, the misunderstood...the "gentle people", as he referred to them. We are all contradictory, perhaps those the Gods touch with genius more so than others. It's the totality of a life that matters, and the total sum of his life was that he tried his damndest to be a GOOD MAN. An honest man. And, he also created some of the most brilliant works, with some of the most memorable characters, speaking some of the most beautiful words, in the history of theater. Don't judge dear Tennessee too harshly.

An Act of Defiance by a Great Gay Author
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.

An American Jewel
I think "badges of honor" (from a previous review) misses the mark. "Badges of dis-honor" would be closer to the truth. I think Williams' extremely destructive drug abuse and alcoholism are obvious escape hatches - escapes from his inner deamons, his possible self-loathing, and certainly an attempt to reconcile the loneliness that each artist has to contend with. The same isolation and deamons that Williams faced nearly destroyed Michelangelo - and they did kill Virginia Woolf, Francis Bacon, and Oscar Wilde. I still think "Iguana" and "Streetcar" are among the finest literature in the American canon, while "Suddenly Last Summer" is among the most compelling psychological (if not philosophical) horror stories ever written. In fact, it's worthy of Poe. Tennessee Williams can be difficult and disturbing, because he NEVER lies to us. Every one of his works renders him defenseless - and by extension our defenses are stipped bare as well. Only the greatest authors, artists, and poets are able to do this. No thoughtful person is quite the same after delving into the work of Tennessee Williams. I think that's an awesome power to possess - and William's never abuses it. Instead, he saved the abuse for himself. I'm still coming to terms with this.