Tennessee Williams

Dramatist

1911-03-26

Books by Tennessee Williams

Cat on a Hot Tin Roof
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A Streetcar Named Desire
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The Glass Menagerie
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Quotes by Tennessee Williams

You should not have too many people waiting on you, you should have to do most things for yourself. Hotel service is embarrassing. Maids, waiters, bellhops, porters and so forth are the most embarrassing people in the world for they continually remind you of inequities which we accept as the proper thing. The sight of an ancient woman, gasping and wheezing as she drags a heavy pail of water down a hotel corridor to mop up the mess of some drunken overprivileged guest, is one that sickens and weighs upon the heart and withers it with shame for this world in which it is not only tolerated but regarded as proof positive that the wheels of Democracy are functioning as they should without interference from above or below. Nobody should have to clean up anybody else's mess in this world. It is terribly bad for both parties, but probably worse for the one receiving the service.
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You have a spark of anarchy in your spirit and that's not to be tolerated. Nothing wild or honest is tolerated her! It has to be extinguished...
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The low-tone clarinet moans. The door upstairs opens again. Stella slips down the rickety stairs in her robe. Her eyes are glistening with tears and her hair loose about her throat and shoulders. They stare at each other. Then they come together with low, animal moans. He falls to his knees on the steps and presses his face to her belly, curving a little with maternity. Her eyes go blind with tenderness as she catches his head and raises him level with her. He snatches the screen door open and lifts her off her feet and bears her into the dark flat.
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I've been accused of having a death wish but I think it's life that I wish for, terribly, shamelessly, on any terms whatsoever.
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It is only in his work that an artist can find reality and satisfaction, for the actual world is less intense than the world of his invention and consequently his life, without recourse to violent disorder, does not seem very substantial. The right condition for him is that in which his work in not only convenient but unavoidable.
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When things don't change, their sameness becomes an accretion. That is why all society puts on flesh. Succumbs to the cubicles and begins to fill them.
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To begin with, I turn back time. I reverse it to that quaint period, the thirties, when the huge middle class of America was matriculating in a school for the blind. Their eyes had failed them, or they had failed their eyes, and so they were having their fingers pressed forcibly down on the fiery Braille alphabet of a dissolving economy.
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There's a time for departure even when there's no certain place to go.
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Time doesn't take away from friendship, nor does separation.
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Then what is good? The obsessive interest in human affairs, plus a certain amount of compassion and moral conviction, that first made the experience of living something that must be translated into pigment or music or bodily movement or poetry or prose or anything that's dynamic and expressivee--that's what's good for you if you're at all serious in your aims. William Saroyan wrote a great play on this theme, that purity of heart is the one success worth having. In the time of your life--live! That time is short and it doesn't return again. It is slipping away while I write this and while you read it, the monosyllable of the clock is Loss, loss, loss, unless you devote your heart to its opposition.
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Byron: The luxuries of this place have made me soft.The metal point's gone from my pen, there's nothing left but the feather.Gutman:That may be true.But what can you do about it?Byron:Make a departure.Gutman:From yourself?Byron:From my present self to myself as I used to be!Gutman:That's the furthest departure a man could make!
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And it was about then, about that time, that I began to find life unsatisfactory as an explanation of itself and was forced to adopt the method of the artist of not explaining but putting the blocks together in some other way that seems more significant to him. Which is a rather fancy way of saying I started writing.
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I believe the way to write a good play is to convince yourself it is easy to do--then go ahead and do it with ease. Don't maul, don't suffer, don't groan till the first draft is finished. A play is a pheonix and it dies a thousand deaths. Usually at night. In the morning it springs up again from its ashes and crows like a happy rooster. It is never as bad as you think, it is never as good. It is somewhere in between, and success or failure depends on which end of your emotional gamut concerning its value it approaches more closely. But it is much more likely to be good if you think it is wonderful while you are writing the first draft. An artist must believe in himself. Your belief is contagious. Others may say he is vain, but they are affected.
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It is almost as if you were frantically constructing another world while the world that you live in dissolves beneath your feet, and that your survival depends on completing this construction at least one second before the old habitation collapses.
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I think no more than a week after I started writing I ran into the first block. It's hard to describe it in a way that will be understandable to anyone who is not a neurotic. I will try. All my life I have been haunted by the obsession that to desire a thing or to love a thing intensely is to place yourself in a vulnerable position, to be a possible, if not a probable, loser of what you most want. Let's leave it like that. That block has always been there and always will be, and my chance of getting, or achieving, anything that I long for will always be gravely reduced by the interminable existence of that block.
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When I stop working the rest of the day is posthumous. I'm only really alive when I'm writing.
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It was useless trying to explain to Cecila that poetry wasn't a commodity, that it could never be bought or sold, that it was, in fact, unteansferrable, remaining forever a part of the one who wrote it.
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The rest of my days I'm going to spend on the sea. And when I die, I'm going to die on the sea. You know what I shall die of? I shall die of eating an unwashed grape. One day out on the ocean I will die--with my hand in the hand of some nice looking ship's doctor, a very young one with a small blond moustache and a big silver watch. Poor lady, they'll say, The quinine did her no good. That unwashed grape has transported her soul to heaven.
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Mendacity is a system that we live in, declares Brick. Liquor is one way out an'death's the other.
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Make voyages. Attempt them. There's nothing else.
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