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Tennessee Williams

(1911-1983), American

Biography

Tennessee Williams was born in Columbus, Mississippi, in 1911. The name given to him at birth was Thomas Lanier Williams III. He did not acquire the nickname Tennessee until college, when classmates began calling him that in honor of his Southern accent and his father’s home state. The Williams family had produced several illustrious politicians in the state of Tennessee, but Williams’s grandfather had squandered the family fortune. Williams’s father, C.C. Williams, was a traveling salesman and a heavy drinker. Williams’s mother, Edwina, was a Mississippi clergyman’s daughter with a history of mental illness. Until Williams was seven, he, his parents, his older sister, Rose, and his younger brother, Dakin, lived with Edwina’s parents in Mississippi. After that, the family moved to St. Louis. There, the situation deteriorated. C.C.’s drinking increased, the family moved sixteen times in ten years, and the young Williams, always shy and fragile, was ostracized and taunted at school. During these years, he and Rose became extremely close. Rose, the model for the character Laura in The Glass Menagerie, suffered from mental illness later in life.

An average student and social outcast in high school, Williams turned to the movies and writing for solace. At sixteen, Williams won five dollars in a national competition for his answer to the question “Can a good wife be a good sport?”; his answer was published in Smart Set magazine. The next year, he published a horror story in a magazine called Weird Tales, and the year after that he entered the University of Missouri as a journalism major. While there, he wrote his first plays. Before Williams could receive his degree, however, his father, outraged because Williams had failed a required ROTC program course, forced him to withdraw from school and go to work at the same shoe company where he himself worked.

Williams worked at the shoe factory for three years, a job that culminated in a minor nervous breakdown. After that, he returned to college, this time at Washington University in St. Louis. While he was studying there, a St. Louis theater group produced his plays The Fugitive Kind and Candles to the Sun. Personal problems led Williams to drop out of Washington University and enroll in the University of Iowa. While he was in Iowa, his sister, Rose, underwent a lobotomy, which left her institutionalized for the rest of her life. Despite this trauma, Williams finally graduated in 1938. In the years that followed, he lived a bohemian life, working menial jobs and wandering from city to city. He continued to work on drama, however, receiving a Rockefeller grant and studying playwriting at the New School in New York. During the early years of World War II, Williams worked in Hollywood as a scriptwriter.

Around 1941, Williams wrote The Glass Menagerie, which was then staged in Chicago with the collaboration of a number of well-known theatrical figures. When the play first opened, the audience was sparse, but the Chicago critics raved about it, and eventually it was playing to full houses. In March of 1945, the play moved to Broadway, where it won the prestigious New York Drama Critics’ Circle Award. This highly personal, explicitly autobiographical play earned Williams fame, fortune, and critical respect, and it marked the beginning of a successful run that would last for another ten years. Two years after The Glass Menagerie, Williams won another Drama Critics’ Circle Award and a Pulitzer Prize for A Streetcar Named Desire. Williams won the same two prizes again in 1955, for Cat on a Hot Tin Roof.

The impact of success on Williams’s life was colossal and, in his estimation, far from positive. In an essay entitled “The Catastrophe of Success,” he outlines, with both light humor and a heavy sense of loss, the dangers that fame poses for an artist. For years after he became a household name, Williams continued to mine his own experiences to create pathos-laden works. Alcoholism, depression, thwarted desire, loneliness in search of purpose, and insanity were all part of Williams’s world. Since the early 1940s, he had been a known homosexual, and his experiences in an era and culture unfriendly to homosexuality certainly affected his work. After 1955, Williams began using drugs, and he would later refer to the 1960s as his “stoned age.” He suffered a period of intense depression after the death of his longtime partner in 1961 and, six years later, entered a psychiatric hospital in St. Louis. He continued to write nonetheless, though most critics agree that the quality of his work diminished in his later life. His life’s work adds up to twenty-five full-length plays, five screenplays, over seventy one-act plays, hundreds of short stories, two novels, poetry, and a memoir; five of his plays were also made into movies. Williams died from choking in a drug-related incident in 1983.

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SparkNotes

Tennessee Williams Quotes

There is a time for departure even when there's no certain place to go.

For time is the longest distance between two places.

I have always depended on the kindness of strangers.

In memory, everything seems to happen to music.

Success is blocked by concentrating on it and planning for it... Success is shy - it won't come out while you're watching.

What is straight? A line can be straight, or a street, but the human heart, oh, no, it's curved like a road through mountains.

When so many are lonely as seem to be lonely, it would be inexcusably selfish to be lonely alone.

All cruel people describe themselves as paragons of frankness.

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Plays

  • The Glass Menagerie

    (1944)

  • A Streetcar Named Desire

    (1947)

  • Summer and Smoke

    (1948)

  • The Rose Tattoo

    (1951)

  • Camino Real

    (1953)

  • Cat on a Hot Tin Roof

    (1955)

  • Orpheus Descending

    (1957)

  • Suddenly, Last Summer

    (1958)

  • Sweet Bird of Youth

    (1959)

  • Period of Adjustment

    (1960)

  • The Night of the Iguana

    (1961)

  • The Eccentricities of the Nightingale

    (1962)

  • The Milk Train Doesn’t Stop Here Anymore

    (1963)

  • The Mutilated

    (1965)

  • The Seven Descents of Myrtle

    (1968)

  • In the Bar of a Tokyo Hotel

    (1969)

  • Will Mr. Merriweather Return from Memphis

    (1969)

  • Small Craft Warnings

    (1972)

  • The Two-Character Play

    (1973)

  • The Red Devil Battery Sign

    (1975)

  • This Is (An Entertainment)

    (1976)

  • Vieux Carré

    (1977)

  • A Lovely Sunday for Creve Coeur

    (1979)

  • Clothes for A Summer Hotel

    (1980)

  • The Notebook of Trigorin

    (1980)

  • Something Cloudy, Something Clear

    (1981)

  • A House Not Meant to Stand

    (1982)

  • In Masks Outrageous and Austere

    (1983)