The World of Tennessee Williams offers a survey of the life and career of one of America¿s greatest dramatists from his birth in 1911 to his death in 1983. Richard Leavitt was in a unique position to create such a volume since he was a friend of Tennessee¿s and followed his career closeup. Kenneth Holditch, who has undertaken the task of completing the text was a friend of Leavitt¿s and knew Tennessee Williams. It has been his desire to carry to fruition the original plan Dick Leavitt conceived in the 1970s and augmented in 1983 when Williams died.

This new volume gathers some of Williams' most exuberant early work and includes one-acts that he would later expand to powerful full-length dramas, including "The Pretty Trap," a cheerful take on "The Glass Menagerie," and "Interior: Panic," a stunning precursor to "A Streetcar Named Desire."

What’s not to like about Tennessee Williams’s most forthright work about homosexual love, with its gay figure skaters, runaways, and sex? An erotic, sensual, and comic novel that was a generation ahead of its time, Moise and the World of Reason has at its center the need of three people for each other: Lance, the beautiful black figure skater full of love and lust for young men as well as a craving for drugs; the nameless gay young narrator, a runaway writer from Alabama who lives near the piers of New York City’s West Village, c. 1975, frantically filling notebooks with his observations; and Moise, a young woman who speaks in riddles and can never finish her paintings or consummate her affairs. The long unavailable Moise and the World of Reason represents a kind of uncensored Williams, radically frank, fully articulated, and deeply tender: a true gem.

Volume III of the series includes Cat on a Hot Tin Roof (1955), Orpheus Descending (1957), and Suddenly Last Summer (1958). The first, which won both the Pulitzer Prize and Drama Critics Award, has proved every bit as successful as William's earlier A Streetcar Named Desire. The other two plays, though different in kind, both have something of the quality of Greek tragedy in 20th-century settings, bringing about catharsis through ritual death.

"There isn't a dull or conventional page, or an unlovely sentence in the book."--Scott Eyman, The Palm Beach Post

National Book Critics Circle Award Winner: Biography Category National Book Award Finalist 2015 Winner of the Sheridan Morley Prize for Theatre Biography American Academy of Arts and Letters’ Harold D. Vursell Memorial Award A Chicago Tribune 'Best Books of 2014' USA Today: 10 Books We Loved Reading Washington Post, 10 Best Books of 2014 The definitive biography of America's greatest playwright from the celebrated drama critic of The New Yorker. John Lahr has produced a theater biography like no other. Tennessee Williams: Mad Pilgrimage of the Flesh gives intimate access to the mind of one of the most brilliant dramatists of his century, whose plays reshaped the American theater and the nation's sense of itself. This astute, deeply researched biography sheds a light on Tennessee Williams's warring family, his guilt, his creative triumphs and failures, his sexuality and numerous affairs, his misreported death, even the shenanigans surrounding his estate. With vivid cameos of the formative influences in Williams's life—his fierce, belittling father Cornelius; his puritanical, domineering mother Edwina; his demented sister Rose, who was lobotomized at the age of thirty-three; his beloved grandfather, the Reverend Walter Dakin—Tennessee Williams: Mad Pilgrimage of the Flesh is as much a biography of the man who created A Streetcar Named Desire, The Glass Menagerie, and Cat on a Hot Tin Roof as it is a trenchant exploration of Williams’s plays and the tortured process of bringing them to stage and screen. The portrait of Williams himself is unforgettable: a virgin until he was twenty-six, he had serial homosexual affairs thereafter as well as long-time, bruising relationships with Pancho Gonzalez and Frank Merlo. With compassion and verve, Lahr explores how Williams's relationships informed his work and how the resulting success brought turmoil to his personal life. Lahr captures not just Williams’s tempestuous public persona but also his backstage life, where his agent Audrey Wood and the director Elia Kazan play major roles, and Marlon Brando, Anna Magnani, Bette Davis, Maureen Stapleton, Diana Barrymore, and Tallulah Bankhead have scintillating walk-on parts. This is a biography of the highest order: a book about the major American playwright of his time written by the major American drama critic of his time.

In 2011, the centennial of Tennessee Williams’s birth, events were held around the world honoring America’s greatest playwright. There were festivals, conferences, and exhibitions held in places closely associated with Williams’s life and career—New Orleans held major celebrations, as did New York, Key West, and Provincetown. But absolutely nothing was done to celebrate Williams’s life and extraordinary literary and theatrical career in the place that he lived in longest, and called home longer than any other—St. Louis, Missouri. The question of this paradox lies at the heart of this book, an attempt not so much to correct the record about Williams’s well-chronicled dislike of the city, but rather to reveal how the city was absolutely indispensable to his formation and development both as a person and artist. Unlike the prevailing scholarly narrative that suggests that Williams discovered himself artistically and sexually in the deep South and New Orleans, Blue Song reveals that Williams remained emotionally tethered to St. Louis for a host of reasons for the rest of his life.

Tennessee Williams' plays are performed around the world, and are staples of the standard American repertory. His famous portrayals of women engage feminist critics, and as America's leading gay playwright from the repressive postwar period, through Stonewall, to the growth of gay liberation, he represents an important and controversial figure for queer theorists. Gross and his contributors have included all of his plays, a chronology, introduction and bibliography.

Meticulously edited and annotated, Tennessee Williams's notebooks follow his growth as a writer from his undergraduate days to the publication and production of his most famous plays, from his drug addiction and drunkenness to the heights of his literary accomplishments.

"Collected here for the first time, these twelve plays embrace what Time magazine called "the four major concerns of Williams' dramatic imagination: loneliness, love, the violated heart and the valiancy of survival"--Back cover.