Blooms Literaturecat On A Hot Tin Roofin His Memoirs 1975 Tennesse ✓ Solved

Bloom's Literature Cat on a Hot Tin Roof In his Memoirs (1975) Tennessee Williams (1911–1983) admits that if he had to choose his favorite play, it would be Cat on a Hot Tin Roof; and since its opening on Broadway on 24 March 1955, it has remained, through all its permutations, one of Williams's most popular. Cat on a Hot Tin Roof is among Williams's "big three," which also includes The Glass Menagerie (1944) and A Streetcar Named Desire (1947). While Brian Parker points to several biographical parallels in the play, he states that "real life models remain problematic." The seed of the play comes from a short story Williams published in 1952, "Three Players of a Summer Game." The short story has little in common with the plot of the play, but it does contain a husband named Brick who is an alcoholic and his take-charge wife, Margaret.

Williams, who was born Thomas Lanier Williams III in Columbus, Mississippi, and moved to St. Louis, Missouri, in 1919, won his second Pulitzer Prize for Cat on a Hot Tin Roof, having won the first for A Streetcar Named Desire. The inspiration for the title of the play comes from an expression Williams's father liked to use: "You're making me as nervous as a cat on a hot tin roof." Critics have also noted the influence of Williams's father in his creation of the domineering character of Big Daddy. Cat on a Hot Tin Roof is one of Williams's most tightly wrought efforts. The action of the play primarily unfolds through the dialogue; the play occurs mostly in one setting, Brick and Maggie's bedroom; and it takes place in real time.

The first act belongs to Margaret, or "Maggie," as she confronts Brick regarding his lack of sexual drive, their childless marriage, the knowledge that Brick's father Big Daddy, though he does not yet know it, has terminal cancer, and the problem of Brick's older brother Gooper and his wife May preparing to take Big Daddy's plantation and wealth from him. Maggie has had a brief liaison with Skipper, Brick's former friend and teammate in professional football, who has committed suicide after confessing his homosexual attraction to Brick. The second act belongs to Big Daddy as he confronts Brick with his drinking and his relationship with Maggie and Skipper. During their argument, Brick reveals that Big Daddy has been lied to and is going to die.

In the third act, these elements come together as the family meets to discuss the crisis. Gooper, who has children who are potential heirs of the plantation, wants Big Daddy to sign everything over to him; and Maggie, then, lies, claiming she is pregnant with Brick's child. In the end Big Daddy refuses to give up his plantation, wanting to spend his remaining days touring his land; Maggie and Brick go to bed attempting to produce an heir. In terms of human emotions and motivation, the play is more complex than can be captured in a brief summary. The play concludes with an uneasy resolution: Big Daddy decides to spend the remainder of his days on the land he loves and feels he belongs on while there is an uneasy peace between Maggie and Brick.

Whether or not they have taken care of all of their problems is left unresolved, since their only act of resolution is going to bed together. There is also the unresolved situation with Gooper and May and how they fit into the future Big Daddy bequeaths to his family. Modern criticism of the play tends to center on the issue of homosexuality in the relationship between Brick and Skipper, but other studies of the play may prove more worthwhile. These studies include Jordan Y. Miller's "The Three Halves of Tennessee Williams's World" (1977), Benjamin Nelson's Tennessee Williams: The Man and His Work (1961), and Roger Boxill's Tennessee Williams (1988).

Signi Flack and Felicia Hardison Londre provide useful overviews of the play in their critical surveys of Williams's work, and Donald Spoto's biography, published shortly after Williams's death, is a fine resource. Not to be missed is the 1958 film version of the play with Elizabeth Taylor as the definitive Maggie the Cat and Burl Ives as Big Daddy. Further Information Tennessee Williams. Cat on a Hot Tin Roof. (New York: New Directions, 1955). Primary Works Cat on a Hot Tin Roof (New York: New Directions, 2004).

Williams's "final" dramatic version of the play, completed in 1974. Conversations with Tennessee Williams, edited by Albert J. Devlin (Jackson: University of Mississippi Press, 1986). Contains two dozen selections with numerous references to Cat on a Hot Tin Roof. Tennessee Williams: Plays, 1937–1955, edited by Mel Gusson and Kenneth Holditch (New York: Library Classics of the United States, 2000).

Contains both the complete reading version and the acting version of act 3 of the play, which incorporates changes based on suggestions by the director, Elia Kazan. Memoirs (Garden City, N.Y.: Doubleday, 1975). Details the rewriting of act 3 and explains why the play was Williams's favorite. "Three Players of a Summer Game," in Tennessee Williams: Collected Stories (New York: New Directions, 1994), pp. 303–325.

Contains characters who appear in Cat on a Hot Tin Roof: Brick, an alcoholic husband, and Margaret, his domineering wife. Bibliography George W. Crandell, "Cat on a Hot Tin Roof," in Tennessee Williams: A Guide to Research and Performance edited by Philip C. Kolin (Westport, Conn.: Greenwood, 1998), pp. 109–125.

A bibliographic essay that covers all aspects of the play from autobiographical references to individual characters and symbols. The work contains an extensive bibliography. Crandell, Tennessee Williams: A Descriptive Bibliography (Pittsburgh: University of Pittsburgh Press, 1995). Contains thirty-six entries for Cat on a Hot Tin Roof. Biography Benjamin Nelson, Tennessee Williams: The Man and His Work (New York: Obolensky, 1961).

A literary biography that sees the play as a series of dualities: "a world of mendacity, avarice and hypocrisy" paired against a world of "nobility and dignity and tenderness and love and courage" in some of the characters in the play. Donald Spoto, The Kindness of Strangers: The Life of Tennessee Williams (Boston: Little, Brown, 1985). An excellent biography of Williams, which includes discussion on the background and history of Cat on a Hot Tin Roof. Criticism Roger Boxill, Tennessee Williams (New York: St. Martin's Press, 1988).

Sees the central issue of the play as the "subject of the loss in time." Big Daddy and Brick are relics of the past who have no place in the world of a "modern corporate nation." George W. Crandell, ed., The Critical Response to Tennessee Williams (Westport, Conn.: Greenwood Press, 1996). Contains Walter F. Kerr's review of the original production of the play (1955), a John Simon review of a revival of the play (1974), and a Frank Rich review of yet another revival of the play (1990). The section concludes with Paul J.

Hurley's 1964 analysis of the play. Signi Flak, Tennessee Williams (Boston: Twayne, 1978). Reviews the major action of the play and the critical responses to it at the time of its first performance. Felicia Hardison Londre, Tennessee Williams (New York: Ungar, 1979). Analyzes the play and discusses its reviews and revivals.

Jeffrey B. Loomis, "Four Characters in Search of a Company: Williams, Pirandello, and the Cat on a Hot Tin Roof Manuscripts," in Magical Muse: Millennial Essays on Tennessee Williams, edited by Ralph F. Voss (Tuscaloosa: University of Alabama Press, 2002), pp. 91–110. Reviews the different versions of the play, noting how each affects the differing perspectives about the play, its meaning, and its characters.

Jordan Y. Miller, "The Three Halves of Tennessee Williams's World," in Critical Essays on Tennessee Williams, edited by Robert A. Martin (New York: G. K. Hall, 1997), pp.

209–220. Compares and contrasts Maggie and Brick with Stanley and Stella in A Streetcar Named Desire. Contends Maggie and Brick's struggle ends happily. Brian Parker, "Swinging a Cat," in Tennessee Williams' Cat on a Hot Tin Roof (New York: New Directions, 2004), pp. 187–192.

An excellent introduction to the play with several important biographical connections and commentary concerning the different versions of the play. Judith J. Thompson, Tennessee Williams' Plays: Memory, Myth, and Symbol (New York: Peter Lang, 1989). Sees the themes of the play as "life's inherent corruption and 'mendacity.'" Brick withdraws to a "psychological Death," while Maggie "embraces Life."

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Tennessee Williams' Cat on a Hot Tin Roof is a seminal work in American theater, revealing a complex web of familial relationships, unfulfilled desires, and societal expectations. Opened on Broadway on March 24, 1955, it remains one of Williams's most celebrated and critically acclaimed plays. This essay will delve into the profound themes, character dynamics, and socio-cultural implications that underpin Williams' narrative, asserting its timeless relevance in today's world.
At the heart of the play lies the disfunction within the Pollitt family, characterized by profound emotional distress, misplaced aspirations, and unspoken truths. The protagonists, Brick and Maggie, are emblematic of a marriage strained by unfulfilled desires, particularly marked by the tension surrounding Brick’s repressed sexuality and his nihilistic alcoholism. In his memoirs, Williams noted that Cat on a Hot Tin Roof was his favorite play, citing its depth and exploration of human motivations (Williams, 1975).
The play is a masterful exposition of what Williams refers to as “mendacity,” or the pervasive dishonesty infecting human relationships. As noted by Nelson (1961), the sarcastically dubbed "cat" in the title symbolizes both Maggie's overwhelming desperation for her husband's affection and the broader societal constraints that trap individuals in performance rather than authenticity. This tension serves to critique the American Dream, stripped bare to reveal its fragility beneath the facade of wealth and stability.
Maggie, also known as “Maggie the Cat,” has been described as the embodiment of resilience in the face of societal expectations. Her character grapples with the oppressive weight of her childless marriage and the looming threat posed by her brother-in-law Gooper and his wife May, who eagerly await the inheritance of Big Daddy's wealth (Williams, 2004). The character’s complexity is heightened by her frustrations towards Brick, who remains emotionally distant following the tragic suicide of his friend Skipper. This loss catalyzes Brick's self-destructive behavior and conflicts with his wife, creating a palpable atmosphere of tension and emotional stasis (Miller, 1997).
The interactions between Brick and Maggie illustrate a widespread theme of desire for connection juxtaposed with the inability to communicate desires effectively. Maggie's raw, unwavering longing for Brick clashes with his contemptuous dismissal of her needs, as he struggles against his emotional turmoil. The playwright utilizes dialogue as a primary mechanism to convey the characters' internal conflicts (Crandell, 1998). For instance, Brick’s invocation of “the lies people tell” as a coping mechanism highlights his inward suffering and his rejection of Maggie’s attempts at intimacy, mirroring a larger societal denial regarding emotional truths (Hardison Londre, 1979).
Big Daddy, the patriarch of the family, serves as both a literal and metaphorical representation of a decaying version of masculinity and American ideals. As per Boxill (1988), Big Daddy epitomizes the loss of relevance and connection to the changing times, as he remains stubbornly nostalgic for an agrarian past while grappling with the realities of impending death. The ruthless, corporately-driven ambition embodied by Gooper contrasts sharply with Big Daddy’s emotional decline, reflecting the generational and ideological schisms pervasive in 1950s America (Spoto, 1985).
The climax of the play arrives in the final act during the family's climactic conversations. Here, the audience witnesses the perfunctory nature of familial loyalty and the underlying realities of "mendacity” — Big Daddy is unaware of his terminal condition, and Brick has not come to terms with his sexuality. It culminates in Maggie’s audacious claim of pregnancy, a lie intended to secure her precarious position within the family dynamics (Loomis, 2002). This moment elucidates a desperate desire for continuity while casting shadows on the truth that denial and deception pervade the family structure.
Although Cat on a Hot Tin Roof was written in the mid-20th century, its exploration of human emotions holds significant contemporary relevance. Williams’s keen insight into the intricacies of familial bonds resonates in today's societal landscape, where issues of mental health, identity, and legacy become focal points of discourse. The play’s unresolved tension is critical because it reflects the reality that healing is not always linear or easily obtainable; instead, it is messy and fraught with complexity (Thompson, 1989).
Modern critiques have also examined the play through various lenses, including queer theory, particularly regarding the depiction of Brick's relationship with Skipper. This analysis posits that the portrayal of their friendship and its implications of repressed homosexual desires act as a critique of dominant societal heteronormativity (Miller, 1997). Brick's tragic refusal to confront his attraction to Skipper illustrates the destructive power of societal expectations on personal identity and intimacy.
In examining Cat on a Hot Tin Roof, one can also find a wealth of resources for further study. The text itself can be complemented with critical essays and biographies such as Nelson (1961), Boxill (1988), and Spoto's (1985) exploration of Williams's life and work. Furthermore, the evolution of this play through various adaptations, including the notable 1958 film featuring Elizabeth Taylor, illustrates the continuing significant impact of Williams’ work on popular culture (Gusson & Holditch, 2000).
In conclusion, Cat on a Hot Tin Roof is a poignant exploration of disappointment, desire, and the façade of the perfect family. Tennessee Williams weaves together complex character dynamics underscored by themes of mendacity and emotional turmoil, creating a compelling narrative compellingly relevant across generations. As an intricate tapestry of familial love and loss, it remains a milestone in American drama, compelling audiences to confront uncomfortable truths and explore the depth of human relationships.
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References

1. Boxill, R. (1988). Tennessee Williams. New York: St. Martin's Press.
2. Crandell, G. W. (1998). "Cat on a Hot Tin Roof" in Tennessee Williams: A Guide to Research and Performance. Ed. Philip C. Kolin. Westport: Greenwood Press.
3. Devlin, A. J. (Ed.). (1986). Conversations with Tennessee Williams. Jackson: University of Mississippi Press.
4. Gusson, M. & Holditch, K. (Eds.). (2000). Tennessee Williams: Plays, 1937–1955. New York: Library Classics of the United States.
5. Hardison Londre, F. (1979). Tennessee Williams. New York: Ungar.
6. Loomis, J. B. (2002). "Four Characters in Search of a Company: Williams, Pirandello, and the Cat on a Hot Tin Roof Manuscripts" in Magical Muse: Millennial Essays on Tennessee Williams. Ed. Ralph F. Voss. Tuscaloosa: University of Alabama Press.
7. Miller, J. Y. (1997). "The Three Halves of Tennessee Williams's World" in Critical Essays on Tennessee Williams. Ed. Robert A. Martin. New York: G. K. Hall.
8. Nelson, B. (1961). Tennessee Williams: The Man and His Work. New York: Obolensky.
9. Spoto, D. (1985). The Kindness of Strangers: The Life of Tennessee Williams. Boston: Little, Brown.
10. Thompson, J. J. (1989). Tennessee Williams' Plays: Memory, Myth, and Symbol. New York: Peter Lang.