Thomas Lanier "Tennessee" Williams III (March 26, 1911 – February 25, 1983) was 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.
Williams wrote his first play in 1930, but his work did not gain much traction until 1944 with the success of The Glass Menagerie. His next plays, including A Streetcar Named Desire (1947), Cat on a Hot Tin Roof (1955), Sweet Bird of Youth (1959), and The Night of the Iguana (1961), were also successful and widely acclaimed. With his later work, Williams attempted a new style that did not appeal as widely to audiences. His drama A Streetcar Named Desire is often numbered on short lists of the finest American plays of the 20th century alongside Eugene O'Neill's Long Day's Journey into Night and Arthur Miller's Death of a Salesman.
Much of Williams's work was adapted to film. He also wrote short stories, poetry, essays, and a volume of memoirs. In 1979, four years before his death, Williams was inducted into the American Theater Hall of Fame.
Early life
Thomas Lanier Williams III was born in Columbus, Mississippi, of English, Welsh, and Huguenot ancestry, the second child of Edwina Dakin (August 9, 1884 – June 1, 1980) and Cornelius Coffin "C. C." Williams (1879–1957). His father was a traveling shoe salesman who became an alcoholic and was frequently away from home. His mother was the daughter of Rose O. Dakin, a music teacher, and the Reverend Walter Dakin, an Episcopal priest from Illinois who was assigned to a parish in Clarksdale, Mississippi, shortly after Williams's birth. Williams lived in his grandfather's Episcopal rectory with his family for much of his early childhood and was close to his grandparents.
He had two siblings, older sister Rose Isabel Williams (1909–1996) and younger brother Walter Dakin Williams (1919–2008). As a young child, Williams nearly died from a case of diphtheria that left him frail, short and virtually confined to his house during a year of recuperation. At least partly due to his illness, he was considered a weak child by his father, Cornelius Williams, a descendant of East Tennessee pioneers, had a violent temper and was prone to use his fists. He regarded what he thought was his son's effeminacy with disdain. Edwina, locked in an unhappy marriage, focused her attention almost entirely on her frail young son. Critics and historians agree that Williams drew from his own dysfunctional family in much of his writing and that his desire to break free from his puritan upbringing propelled him toward writing.
When Williams was eight years old, his father was promoted to a job at the home office of the International Shoe Company in St. Louis. His mother's continual search for a more appropriate home, as well as his father's heavy drinking and loudly turbulent behavior, caused them to move numerous times around St. Louis. Williams attended Soldan High School, a setting he referred to in his play The Glass Menagerie. Later he studied at University City High School.Tennessee Williams and John Waters (2006), Memoirs, New Directions Publishing, 274 pages At age 16, Williams won third prize for an essay published in Smart Set, titled "Can a Good Wife Be a Good Sport?" A year later, his short story "The Vengeance of Nitocris" was published (as by "Thomas Lanier Williams") in the August 1928 issue of the magazine Weird Tales. These early publications did not lead to any significant recognition or appreciation of Williams's talent, and he would struggle for more than a decade to establish his writing career. Later, in 1928, Williams first visited Europe with his maternal grandfather Dakin.
Education From 1929 to 1931, Williams attended the University of Missouri in Columbia, where he enrolled in journalism classes. He was bored by his classes and distracted by unrequited love for a girl. Soon he began entering his poetry, essays, stories, and plays in writing contests, hoping to earn extra income. His first submitted play was Beauty Is the Word (1930), followed by Hot Milk at Three in the Morning (1932). As recognition for Beauty, a play about rebellion against religious upbringing, he became the first freshman to receive honorable mention in a writing competition.
At University of Missouri, Williams joined the Alpha Tau Omega fraternity, but he did not fit in well with his fraternity brothers. After he failed a military training course in his junior year, his father pulled him out of school and put him to work at the International Shoe Company factory. Although Williams hated the monotony, the job forced him out of the gentility of his upbringing. His dislike of his new 9-to-5 routine drove Williams to write prodigiously. He set a goal of writing one story a week. Williams often worked on weekends and late into the night. His mother recalled his intensity:
Tom would go to his room with black coffee and cigarettes and I would hear the typewriter clicking away at night in the silent house. Some mornings when I walked in to wake him for work, I would find him sprawled fully dressed across the bed, too tired to remove his clothes.
Overworked, unhappy, and lacking further success with his writing, by his 24th birthday Williams had suffered a nervous breakdown and left his job. Memories of this period and of a particular factory co-worker would contribute to the character Stanley Kowalski in A Streetcar Named Desire. By the mid-1930s his mother separated from his father due to his worsening alcoholism and abusive temper. They agreed to a legal separation in 1946 but never divorced.
In 1936, Williams enrolled at Washington University in St. Louis where he wrote the play Me, Vashya (1937). After not winning the school's poetry prize, he decided to drop out. In the autumn of 1937, he transferred to the University of Iowa in Iowa City, where he graduated with a B.A. in English in August 1938."Tennessee Williams" , Writing University He later studied at the Dramatic Workshop of The New School in New York City. About his early days as a playwright and an early collaborative play called Cairo, Shanghai, Bombay!, Williams wrote, "The laughter ... enchanted me. Then and there the theatre and I found each other for better and for worse. I know it's the only thing that saved my life." Around 1939, he adopted Tennessee Williams as his professional name in acknowledgement of his Southern accent and roots.
Literary influences
Williams's writings reference some of the poets and writers he most admired in his early years: Hart Crane, Arthur Rimbaud, Anton Chekhov, William Shakespeare, Clarence Darrow, D. H. Lawrence, Katherine Mansfield, August Strindberg, William Faulkner, Thomas Wolfe, Emily Dickinson, William Inge, James Joyce, and, according to some, Ernest Hemingway.
Career In the late 1930s, while struggling to gain production and an audience for his work, Williams worked at a string of menial jobs that included a stint as caretaker on a chicken ranch in Laguna Beach, California.
In 1939, with the help of his agent Audrey Wood, Williams was awarded a $1,000 grant () from the Rockefeller Foundation in recognition of his play Battle of Angels. It was produced in Boston, Massachusetts in 1940 and was poorly received.
In 1939, using some of the Rockefeller funds, Williams moved to New Orleans to write for the Works Progress Administration (WPA), a federally funded program of the New Deal era. Williams lived for a time in the New Orleans French Quarter, including 722 Toulouse Street, the setting of his future play Vieux Carré (1977). The building is now part of The Historic New Orleans Collection.
The Rockefeller grant brought him to the attention of the Hollywood film industry, and Williams received a six-month contract as a writer from the Metro-Goldwyn-Mayer film studio, earning US$250 weekly ().
During the winter of 1944–45, Williams' memory play The Glass Menagerie, developed from his short story "Portrait of a Girl in Glass" (1943), was produced in Chicago and garnered good reviews. It moved to New York where it became an instant hit and enjoyed a long Broadway run. Elia Kazan (who directed many of Williams's greatest successes) said of Williams: "Everything in his life is in his plays, and everything in his plays is in his life." The Glass Menagerie won the award for the best play of the season, the New York Drama Critics' Circle Award.
In 1947, the huge success of Williams' next play, A Streetcar Named Desire, cemented his reputation as a great playwright.
During the late 1940s and 1950s, Williams began to travel widely with his partner Frank Merlo (1922–1963), often spending summers in Europe. He moved often to stimulate his writing, living in New York, New Orleans, Key West, Rome, Barcelona, and London. Williams wrote: "Only some radical change can divert the downward course of my spirit, some startling new place or people to arrest the drift, the drag."
Between 1948 and 1959, Williams had seven of his plays produced on Broadway: Summer and Smoke (1948); The Rose Tattoo (1951); Camino Real (1953); Cat on a Hot Tin Roof (1955); Orpheus Descending (1957); Garden District (1958); and Sweet Bird of Youth (1959).
In the early 1950s, Williams' work reached wider audiences when The Glass Menagerie (1950) and A Streetcar Named Desire (1951) were adapted into motion pictures.
By 1959, Williams had earned two Pulitzer Prizes, three New York Drama Critics' Circle Awards, three Donaldson Awards, and a Tony Award.
In the late 1950s and early 1960s, other plays also adapted for the screen included The Rose Tattoo (1955), Cat on a Hot Tin Roof (1958), Orpheus Descending (1960), Summer and Smoke (1961), Sweet Bird of Youth (1962), and The Night of the Iguana (1964).
In the 1960s and 1970s, after the extraordinary successes of the 1940s and 1950s, Williams experienced personal turmoil and theatrical failures. Although he continued to write every day, the quality of his work suffered from his increasing alcohol and drug consumption, as well as occasional poor choices of collaborators.
Consumed by depression, and in and out of treatment facilities while under the control of his mother and brother Dakin, Williams spiraled downward. His plays Kingdom of Earth (1967), In the Bar of a Tokyo Hotel (1969), Small Craft Warnings (1973), The Two Character Play (also called Out Cry) (1973), The Red Devil Battery Sign (1976), Vieux Carré (1978), Clothes for a Summer Hotel (1980), and others were all box office failures. Negative press notices wore down his spirit.
In 1974, Williams received the St. Louis Literary Award from the Saint Louis University Library Associates.
In 1976, Williams served as the president of the jury for the 29th Cannes Film Festival.
In 1979, four years before his death, Williams was inducted into the American Theater Hall of Fame.
In 1982, Williams' last play, A House Not Meant to Stand, was produced in Chicago. Despite largely positive reviews, it ran for only 40 performances.
Personal life
Throughout his life, Williams remained close to his sister, Rose, who was diagnosed with schizophrenia as a young woman. In 1943, as her behavior became increasingly disturbing, she was subjected to a lobotomy, requiring her to be institutionalized for the rest of her life. As soon as he was financially able, Williams moved Rose to a private institution just north of New York City, where he often visited her. He gave her a percentage interest in several of his most successful plays, the royalties of which were applied toward her care.Greenberg-Slovin, Naomi. "Notes from the Dramaturg". Program to The Glass Menagerie. Everyman Theatre, Baltimore, 2013–14 season. The devastating effects of Rose's treatment may have contributed to Williams's alcoholism and his dependence on various combinations of amphetamines and barbiturates.