LOVE AND DEATH
IN TENNESSEE WILLIAMS

by John J. Fritscher, Ph.D.
(aka) Jack Fritscher, Ph.D
.

BIBLIOGRAPHY

Primary Sources

A. Williams as Artist.

American Blues: Five Short Plays, acting edition. New York: Dramatists Play Service, 1948.

Battle of Angels with Orpheus Descending. New York: New Directions, 1958.

Baby Doll. New York: New Directions, 1956.

Camino Real in Three Plays of Tennessee Williams. New York: New Directions, 1964.

Cat on a Hot Tin Roof. New York: New Directions, 1955.

Eccentricities of a Nightingale in Two Plays by Tennessee Williams. New York: New Directions, 1964.

The Fugitive Kind. New York: The New American Library, 1958.

Garden District (Something Unspoken and Suddenly Last Summer). London: Secker and Warburg, 1959.

The Glass Menagerie. New York: Random House, 1945.

Hard Candy. New York: New Directions, 1954.

I Can't Imagine Tomorrow. Esquire (March, 1966).

I Rise in Flame, Cried the Phoenix, acting edition. New York: Dramatists Play Service, 1951.

In the Winter of Cities. New York: New Directions, 1964.

The Kingdom of Earth. Esquire (February, 1967).

The Knightly Quest and Other Stories. New York: New Directions, 1967.

Lord Byron's Love Letter (with Raffaello de Barfield; opera in one act, libretto by Tennessee Williams). New York: Ricordi, 1955.

The Milk Train Doesn't Stop Here Anymore. New York: New Directions, 1964.

The Night of the Iguana. New York: New Directions, 1962.

Period of Adjustment. New York: New Directions, 1960.

One Arm and Other Stories. New York: New Directions, 1954.

Orpheus Descending with Battle of Angels. New York: New Directions, 1958.

The Roman Spring of Mrs. Stone. New York: New Directions, 1950.

The Rose Tattoo in Three Plays of Tennessee Williams. New York: New Directions, 1964.

The Slapstick Tragedy: The Gnädiges Fräulein and The Mutilated. Esquire (August, 1965).

The Streetcar Named Desire. New York: New Directions, 1947.

Summer and Smoke in Two Plays by Tennessee Williams. New York: New Directions, 1959.

Sweet Bird of Youth in Three Plays by Tennessee Williams. New York: New Directions, 1946.

You Touched Me! (with Donald Windham). New York: S. French, 1942.

Four Plays (The Glass Menagerie, A Streetcar Named Desire, Summer and Smoke, Camino Real). London: Secker and Warburg, 1956.

Three Plays (The Rose Tattoo, Camino Real, Sweet Bird of Youth). New York: New Directions, 1964.

Two Plays (Eccentricities of a Nightingale, Summer and Smoke). New York: New Directions, 1964.


B. Williams as Critic.

"The Agent as Catalyst," Esquire, LVIII (June, 1962), 216.

"Biographical Sketch of Carson McCullers," Saturday Review, XLIV (September 23, 1961), 14-15.

"Critic says, 'Evasion,' Writer says 'Mystery,'" New York Herald, Tribune (April 17, 1955).

"Five Fiery Ladies," Life, L (February 3, 1961), 84-89.

"Foreword" to Sweet Bird of Youth in Three Plays.

"Foreword" and "Afterword" to Camino Real in Three Plays.

Tennessee Williams in Privately Recorded Interview of Irv Kupcinet Television Show of January 14, 1967.

"Tennessee Williams Presents His POV [Point of View]," New York Times Magazine (June 12, 1960).

"Questions without Answers," New York Times (October, 1948), sec. 2, pp. 1, 3.


Secondary Sources

A. General.

Anonymous. "Angel of the Odd," Time, LXXIX (March 9, 1962), 53-56.

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________. "No Time like the Present," (excerpts from Time) in Esquire, LIX (April, 1963), 58-59.

________. "Sobering Thoughts?" Theatre Arts, XL (June, 1956), 11.

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________. "Tennessee's World," Time, LXVII (June 25, 1956), 94.

________. "Unbeastly Williams," Newsweek, LV (June 27, 1960), 96.

________. "Way Down Yonder in Tennessee," Time, LXXI (March 3, 1958), 72.

________. "Winner: Season's Best American Play," Time, LXXI (March 3, 1958), 72.

Abirached, R. "La Descente d'Orphée à l'Athénée," Études, CCCI (1959), 381-85.

Adler, J. H. "The Rose and the Fox" in Louis Rubin and Robert Jacobs, (eds.). South: Modern Southern Literature in Its Cultural Setting. New York: Doubleday, 1961, pp. 349-75.

Asselineau, Roger. "Tennessee Williams ou la nostalgie de la pureté," Etudes Anglaises, X (1957), 431-43.

Astral, Ertem. "Tennessee Williams on Stage and Screen," Dissertations Abstracts, XXII (1961, Pennsylvania), 1169-70.

Atkinson, Brooks. "Camino Real," New York Times (March 29, 1953).

________. "Williams' 'Tin Roof,'" New York Times (November 22, 1956).

________. "Theatre: Early Williams," New York Times (November 22, 1956).

________. "Virtuoso Theatre," New York Times (March 31, 1957).

________. "Tattooing," New York Times, (June 3, 1951).

________. "Streetcar's Tragedy," New York Times (December 14, 1947).

________. "Garden District," New York Times (January 19, 1958).

________. "Theatre: Portraits of Corruption," New York Times (March 11, 1959).

Baldwin, James. Nobody Knows My Name. New York: Dell, 1963.

Barnett, Lincoln Kinnear. "Tennessee Williams," Life, XXIV (February 16, 1948), 113-114.

Beaton, Cecil Walter Hardy and Kenneth Tynan. Persona Grata. New York: Putnam, 1954, p. 96.

Bentley, Eric Russell. "Camino Real," in The Dramatic Event. New York: Horizon Press, 1954, pp. 105-110.

Blair, Walter et al. The Literature of the United States. Chicago: Scott, Foresman and Co., 1966.

Boyle, Robert. "Williams and Myopia," America, CIV (November 19, 1960), 263-65.

Brooking, Jack. "Directing Summer and Smoke: An Existential Approach," Modern Drama, II (1960), 377-85.

Brooks, Charles. "The Comic Tennessee Williams," Quarterly Journal of Speeck, XLVI (1958), 257-81.

Brown, John Mason. "Southern Discomfort" in Dramatis Personao. New York: Viking, 1963, pp. 89-94.

________. "Saying it with Flowers" in As They Appear. New York: McGraw, 1952, pp. 161-66.

Brustein, Robert. The Theatre of Revolt. Boston: Little, Bron and Co., 1964.

________. "Sweet Bird of Success," Encounter, XII (June, 1959), 59-60.

________. "Why American Plays are not Literature" in Writings in America. New Jersey: Rutgers, 1960.

Bucholoh, Paul G. "Verweisende Zeichen in Tennessee Williams: Camino Real," Anglia, LXXVII (1959), 173-203.

Callahan, Edward F. "Tennessee Williams' Two Worlds," North Dakota Quarterly, XXV (1957), 61-67.

Carpenter, Charles A. Jr. and Cook, Elizabeth. "Addenda to Tennessee Williams: A Selected Bibliography," Modern Drama, II (1959), 220-23.

Carter, H. "Yes, Tennessee, There are Southern Belles," New York Times (October 7, 1962).

Clurman, Harold. "Tennessee Williams" in Lies Like Truth. New York: MacMillan, 1958, pp. 72-86.

Crowie, Alexander. "American Writers Today," Radiotjänst (1956), 166-69.

Crowther, Bosley. "Screen: Fugitive Kind," New York Times (April 15, 1960).

________. "Williams' Fugitives," New York Times (April 24, 1960).

Dony, Nadine. "Tennessee Williams: A Selected Bibliography," Modern Drama, I (1958), 181-91.

Dornam, Jack Howard von. "The Major Plays of Tennessee Williams: 1940 to 1960," Dissertations Abstracts, XXIII (1962, Southern California), 1371-72.

Downing, R. "From the Cat-Bird Seat" in Theatre Annual. New York: Theatre Library Association, 1956, pp. 46-50.

________. "Streetcar Conductor: Some Notes fromBackstage" in Theatre Annual, New York: Theatre Library Association, 1947, pp. 25-33.

Downer, Alan. Recent American Drama, no. 7, University of Minnesota Pamphlets on American Writers (1961), pp. 28-33.

Driver, Thomas F. "Accelerando," The Christian Century, LXXV (January 29, 1958), 136-137.

Duprey, Richard A. "Tennessee Williams' Search for Innocence," Catholic World, CLXXXIX (1959), 191-94.

Dusenbury, Winifred. "Baby Doll and 'The Ponder Heart,'" Modern Drama, III (1961), 393-95.

________. "In the South" in The Theme of Lonliness in Modern American Drama. Florida Press, pp. 134-54.

Engle, P. "Locomotive Named Reality," The New Republic", CXXXII (January 24, 1955), 26-27.

Falk, Signi Lenea. "The Profitable World of Tennessee Williams," Modern Drama, I (1958), 172-80.

________. Tennessee Williams. New York: Twayne, 1961.

Fanatsu, Tatsumi. "Blanche's Loneliness in A Streetcar Named Desire," Kyusha American Literature, V (June, 1961), 36-41.

________. "A Study of Cat on a Hot Tin Roof, " Kyusha American Literature, II (May, 1959), 33-39.

Fiedler, Leslie A. An End to Innocence: Essays on Culture and Politics. Boston: Beacon Press, 1955.

________. Love and Death in the American Novel. New York: Stein and Day, 1966.

Fitch, R. E. "La Mystique de la Merde," The New Republic, CXXXV (September 3, 1956), 18.

Fogle, R. H. The Romantic Movement in American Writing. New York: Odyssey Press, 1966.

Forrey, Robert. "Tennessee Williams," Mainstream, XV (August, 1962), 62-64.

Frenz, Horst and Ulrich Weisstein. "Tennessee Williams and His German Critics," Symposium, XIV (1960), 258-75.

Fromm, Erich. Escape from Freedom. New York: Holt, Rinehart and Winston, 1941.

Funke, L. and J. E. Booth. "Wonderful Williams," Theatre Arts, XLIV (January, 1962), 16-19.

Gaer, Joseph and Ben Siegel. The Puritan Heritage: America's Roots in the Bible. New York: New American Library, 1964.

Ganz, Arthur. "The Desperate Morality of the Plays of Tennessee Williams," American Scholor, XXXI (Spring, 1962), 278-94.

Gardiner, Harold C. "Is Williams' Vision Myopia?" America, CIII (July 30, 1960), 495-96.

Gardner, Peter. "An Essay on Tennessee Williams," Kyusha American Literature, I (June, 1958), 2-8.

Gassner, John. "Tennessee Williams: Dramatist of Frustration," College English, X (October, 1948), 1-7.

________. Theatre at the Crossroads. New York: Holt, Rinehart, and Wilson, 1960.

________. The Theatre in Our Times. New York: Crown, 1954.

Gelb, Arthur. "Williams and Kazan and the Big Walkout," New York Times (May 1, 1960).

Gerard, Albert. "The Eagle and the Star, Symbolic Motifs in 'The Roman Spring of Mrs. Stone,'" English Studies, XXXVI (1955), 145-53.

Gilder, Rosamond. "Glass Menagerie: Carousel" in Theatre Arts Anthology. New York: Theatre Arts Books, 1950, pp. 657-61.

Gilson, Etienne. A Gilson Reader, ed. Anton C. Pegis. New York: Doubleday Image, 1957.

Gossett, Louise Y. Violence in Recent Southern Fiction. Durham: Duke University Press, 1965.

Grotowski, Jerzy. "Towards the Poor Theatre: The Spectacle as Act of Transgression," Tulane Drama Review (Spring, 1967).

Hartley, A. "Poetry or Pistol?" The Spectator, CXCVII (December 14, 1956), 879.

Hatcher, William. Modern America Drama. New York: Harcourt, 1949.

Hewes, Henry. "Boundaries of Tennessee" in George Oppenheimer (ed.), Passionate Playgoer. New York: Viking, 1958, pp. 250-54.

________. "Broadway Postscripts: Three at a Summer Game," Saturday Review, XXXVI (March 28, 1953), 25-27.

________. "Tennessee Williams, Last of our Solid Gold Bohemians," Saturday Review, XXXVI (March 28, 1953), 25-27.

________. and A. Knight. "Saturday Review Goes to the Movies," Saturday Review, XXXIX (December 29, 1956), 22-24.

Highet, Gilbert. "A Memorandum," Horizon, I (May, 1959), 54-55.

Houghton, N. "Tomorrow Arrives Today; Young Talent on Broadway," Theatre Arts, XXX (February, 1946), 85-86.

Hummert, Paul A. "Preparing for Godot," Today (June, 1966).

Hunninger, B. "Tennessee Williams de vijand tijd," De Gids, CXIII (January, 1960), 38-57.

Hurrell, John d. (ed.). Two Modern American tragedies: Reviews and Criticism of Death of a Salesman and A Streetcar Named Desire. New York: Scribner, 1961.

Hurt, James R. "Suddenly Last Summer: Williams and Melville," Modern Drama, III (1961), 396-400.

Isaac, Dan B. "In Defense of Tennessee Williams," Religious Education, LIII (September-October, 1958), 452-53.

Jackson, Esther. The Broken World of Tennessee Williams. Madison: University of Wisconsin Press, 1965.

________. "The Emergence of a Characteristic Contemporary Form in the American Drama of Tennessee Williams," Dissertations Abstracts, XIX (1959, Ohio State), 3053-54.

________. "The Problem of Form in the Drama of Tennessee Williams," College Language Association Journal, IV (1960), 8-21.

Jones, Margo. Theatre-in-the-Round. New York: Rinehart and Co., Inc., 1951.

Jones, Robert Emmet. "Tennessee Williams' Early Heroines," Modern Drama, II (1959), 211-19.

Justice, Donald. "The Unhappy Fate of the 'Poetic,'" Poetry, XCIII (1959), 402-03.

Kael, Pauline. I Lost It at the Movies. New York: Grosset and Dunlap's Bantam, 1966.

Karsh, Yousuf. "Tennessee Williams," Coronet, XLVIII (May, 1960), 62-63.

Kazan, Elia. "Notebook for A Streetcar Named Desire," in George Oppenheimer (ed.), Passionate Playgoer. New York: Viking, 1958, pp. 342-56.

Kernan, Alvin B. "Truth and Dramatic Mode in the Modern Theatre: Chekhov, Pirandello, and Williams," Modern Drama, I (1958), 101-14.

Kerr, Walter. "Mr. Williams" in The Theatre in Spite of Itself. New York: Simon and Schuster, 1963, pp. 247-55.

________. "Playwrights," in Pieces at Eight. New York: Simon and Schuster, 1957, pp. 117-49.

Knight, Arthur. "The Williams-Kazan Axis," Saturday Review, XXXIX (December 29, 1956), 22-23.

Krutch, Joseph Wood. Modernism in the Modern Drama. Ithaca, New York: Cornell University Press, 1953.

________. "Why the O'Neill Star is Rising," New York Times Magazine (March 19, 1961).

Kuntz, Stanley (ed.). Twentieth Century Authors; 1st Supplement. New York: Wilson, 1955, pp. 1087-89.

Langer, Suzanne K. Philosophy in a New Key: A Study in the Symbolism of Reason, Rite and Art. New York: New American Library of World Literature, 1954.

Lee, M. Owen. "Orpheus and Eurydice: Some Modern Versions," Classical Journal, LVI (1961), 307-13.

Lee, W. "A Reply to M. Mannes," Reporter, XII (June 30, 1955), 4.

Lewis, A. "The American Scene—Tennessee Williams and Arthur Miller" in The Contemporary Theatre. New York: Crown, 1962, pp. 282-303.

Lewis, R. C. "A Playwright Named Tennessee," New York Times Magazine (December 7, 1947).

Lewis, Theophilus. "Theatre," America, CIII (July2, 1960), 422-24.

Lucignani, Luciano. "Lettera da Roma sull'annata Teatrale," Communita, LXXII, 78-89.

Lumley, F. E. "Broadway Cortege—Tennessee Williams and Arthur Miller" in Trends in 20th Century Drama: A Survey since Ibsen and Shaw. New Jersey: Essential Books, 1956, pp. 184-93.

McCarthy, Mary. "Americans, Realists, Playwrights," Encounter, XVII (January, 1956), 24-31.

________. "A Streetcar Called Success" in Sights and Spectacles, 1936-1956. New York: Farrar, Straus and Co., 1956, pp. 131-35.

Machts, Walter. "Das Menschenbild in den Dramen Tennessee Williams," Die Neveren Sprachen (1961), 445-55.

Magid, M. "The Innocence of Tennessee Williams," Commentary, XXXV (January, 1963), 34-43.

Mannes, Marya. "The Morbid Magic of Tennessee Williams," The Reporter, XII (May 19, 1955), 41-43.

________. "A Plea for Fairer Ladies," New York Times (May 29, 1960).

Marcel, Gabriel. "La descente d'Orphée dans l'enfer américain," Nouvelles Littéraires (March 26, 1959), 10.

Marowitz, Charles. "Notes on the Theatre of Cruelty," Tulane Drama Review (Winter, 1966).

Meeter, H. Henry. The basic Ideas of Calvinism. Grand Rapids: Kriegel's, 1956.

Miller, Jordan Y. (ed.). American Dramatic Literature. New York: McGraw-Hill, 1961, pp. 139-41.

Moor, Paul. "A Mississippian Named Tennessee," Harper's, CXCVII (July, 1948), 63-71.

Mueller, W. R. "Tennessee Williams: A New Director?" Christian Century, LXXXI (October 14, 1964), 1271-72.

Nason, Richard. "'Fugitive' is Shot," New York Times (July 5, 1959).

Nathan, George Jean. "American Playwrights, Old and New; Tennessee Williams" in Theatre in the Fifties. New York: Knopg, 1953, pp. 109-12.

________. "The Rosee Tattoo" in Theatre Book of the Year, 1950-51. New York: Knopg, 1951, pp. 209-212.

________. "A Streetcar Named DesireI in Theatre Book of the Year, 1948-49. New York: Knopf, 1948, pp. 163-66.

________. "Summer and Smoke" in Theatre Book of the Year, 1948-49. New York: Knopf, 1948, pp. 114-21.

________. "Tennessee Williams" in The Magic Mirror. New York: Knopf, 1960, pp. 238-42.

________. "You Touched Me!" in Theatre Book of the Year, 1945-46. New York: Knopg, 1946, pp. 87-96.

Nelson, Benjamin. Tennessee Williams, The Mand and His Works. London: Peter Owens, 1961.

Newman, David. "The Agent as Catalyst: Part II, " Esquire, LVIII (July, 1962), 217-18, 261-64.

Nye, R. B. and N.S. Grabo. American Thought and Writing. New York: Houghton Mifflin, 1965.

Nyren, Dorothy (ed.). "Tennessee Williams" in A Library of Literary Criticism. New York: Ungar, 1960.

O'Connor, Flannery. "The Fiction Writer and His Country," The Living Novel: A Symposium, ed. Granville Hicks. New York: MacMillian, 1957.

Parrington, U. L. Main Currents in American Thought. New York: Harcourt, Brace and Co, 1926.

Patterson, Nancy Marie. Patterns if Imagery in the Major Plays of Tennessee Williams. Ann Arbor, Michigan: University Microfilms, 1957.

Peden, W. "Broken Apollos and Blasted Dreams," Saturday Review, XXXVIII (January 8, 1955), 11-12.

Ponte, Durant da. "Tennessee's Tennessee Willaims," University of Tennessee Studies in the Humanities, I (1956), 11-17.

Popkin, Henry. "Williams, Osborne, or Becket?" New York Times Book Review (November 13, 1960), 32-33, 119-21.

________. "The Plays of Tennessee Williams," Tulane Drama Review, IV (March, 1960), 45-46.

Powers, Harvey M. Jr. "Theatrical Convention: The Conditions of Acceptability," Bucknell Review, VII (January, 1957), 20-26.

Pryor, Thomas M. "How to Police the Movies Is under Pressure Again," New York Times (December 23, 1956).

Rahner, Karl. On the Theology of Death. New York: Herder and Herder, 1962.

Reid, Desmond. "Tennessee Williams," Studies, XLVI (1957), 431-46.

Rice, Robert. "A Man Named Tennessee," New York Post (April 21-25, April 27-May 4, 1958).

Rümke, H. C. The Psychology of Unbelief: Character and Temperament in Relation to Unbelief. New York: Sheed and Ward, 1962.

Sugar, K. M. "What Mr. Williams has made of D. H. Lawrence," Twentieth Century, CLXVIII (August, 1960), 143-53.

Schweda, Donald Norman. Morality in the Plays of Tennessee Williams. Unpublished Thesis: University of Florida, 1963.

Scott, J. A. Jr. "MOVIES: The Baby Doll Furor," Christian Century, LXXIV (January 23, 1957), 110-112.

Shanley, John P. "Tennessee Williams on Television," New York Times (April 13, 1958).

Sharp, William. "An Unfashionable View of Tennessee Williams," Tulane Drama Review, VI (March, 1962), 160-71.

Stavrou, C. N. "The Neurotic Heroine in Tennessee Williams," Literature and Psychology, V, 26-34.

Taubman, Howard. "Hospital Ward," New York Times (November 20, 1960).

Taylor, Harry. "The Dilemma of Tennessee Williams," Masses and Mainstream, I (April, 1948), 51-55.

Thiem, Willy H. Tennessee Williams. Duseldorf: W. Girardet, 1956.

Tischler, Nancy Marie. Tennessee Williams: Rebellious Puritan. New York: Citadel Press, 1961.

Tynan, Kenneth. "American Blues: The Plays of Arthur Miller and Tennessee Williams," Encounter, II (May, 1954), 13-19.

________. Curtains. New York: Athenaeum, 1961.

________. "Valentine to Tennessee Williams," Mademoiselle, XLII (February, 1956), 130-31.

Vidal, Gore. "Tennessee Williams" McCall's, XCIV (October, 1966).

Vowles, Richard B. "Tennessee Williams and Strindberg," Modern Drama, I (1958), 166-71.

________. "Tennessee Williams: The World of His Imager," Tulane Drama Review, III (December, 1958), 51-56.

Waters, Arthur B. "Tennessee Williams: Ten Years Later," Theatre Arts, XXXIX (July, 1955), 72-73, 96.

Weales, Gerald Clifford. "Tennessee Williams' Fugitive Kind" in American Drama since World War II. New York: Harcourt, 1962, pp. 18-29.

Weatherby, W. J. "Lonely in Uptown New York," Manchester Gurardian Weekly (July 23, 1959).

Weissman, Philip. "Psychopathological Characters in Current Drama," American Image, XVII (1960), 271-88.

Williams, Edwina Dakin. Remember Me to Tom. New York: Putnam, 1963.

Williams, W. D. "That Sweet Bird," Time, LXXV (April 11, 1960), 76.

Wolf, Morris P. "Casanova's Portmanteau," Dissertations Abstracts, XX (1960, Georgia), 2817.

Woods, J. "Tennessee Williams as a Poet," Poetry, XC (July, 1957), 256-58.

Yarngh, Vernon. "Social Drama and Big Daddy," Southwest Review, LXI (1956), 194-97.

Young, Stark. "The Glass Menagerie" in Immortal Shadows. New York: Scribner, 1948, pp. 249-53.


B. Periodical Reviews of Individual Plays.

Camino Real

America, LXXXIX (April 4, 1953), 25.
America, LXXXIX (April 11, 1953), 59.
Catholic World, CLXXVII (May, 1953), 148.
Commonweal, LVIII (April 17, 1953), 51-52.
Look, XVII (May 5, 1953), 17.
The Nation, CLXXVI (April 4, 1953, 293-94.
The New Republic, CXXVIII (March 30, 1953), 30-31.
The New Yorker, XXIX (March 28, 1953), 69.
The New Yorker, XXXVI (May 28, 1960), 92-94.
Newsweek, XLI (March 30, 1953), 63.
Saturday Review, XXXVI (April 18, 1953), 28-30.
Theatre Arts, XXXVII (June, 1953), 88.
Time, LXI (March 30, 1953), 46.


Cat on a Hot Tin Roof

Catholic World, CLXXXI (May, 1955), 147-48.
Collier's, CXXXVII (March 2, 1956), 6.
Commonweal, LXII (June 3, 1955), 230-31.
Life, XXXVIII (April 18, 1955), 137-38.
Hudson Review, VIII (Summer, 1955), 268-72.
Hudson Review, VIII (Winter, 1956), 633-35.
Kenyon Review, XVIII (Winter, 1956), 125-26.
The Nation, CLXXX (April 9, 1955), 314-15.
The New Republic, CXXXII (April 11, 1955), 28-29.
The New Republic, CXXXII (April 18, 1955), 22.
The New Yorker, XXXI (April 2, 1955), 68-70.
Newsweek, XLV (April 4, 1955), 54.
Saturday Review, XXXVIII (April 9, 1955), 32-33.
Saturday Review, XXXVIII (April 30, 1955), 26.
The Spectator, CXCVI (March 2, 1956), 284.
The Spectator, CC (February 7, 1958), 174.
Theatre Arts, XXXIX (June, 1955), 18-23.
Theatre Arts, XXXIX (July, 1955), 74-77.
Time, LXV (April 4, 1955), 98.


Garden District (Something Unspoken and Suddenly Last Summer)

Catholic World, CLXXXVI (March, 1958), 469-70.
The Christian Century, LXXV (January 29, 1958), 136-37.
Commonweal, LXVIII (May 29, 1958), 232-33
The Nation, CLXXXVI (January 25, 1958), 86-87.
The New Republic, CXXXVIII (January 27, 1958), 20.
The New Yorker, XXXIII (January 18, 1958), 66.
Newsweek, LI (January 20, 1958), 84.
Partisan Review, XLI (January 25, 1958), 26.
The Reporter, XVIII (February 6, 1958), 42-43.
Saturday Review, XLI (January 25, 1958), 26.
The Spectator, CCI (September 26, 1958), 401.
Theatre Arts, LXIII (March, 1958), 13.
Time, LXXI (January 20, 1958), 42.


The Glass Menagerie

Catholic World, CLXI (May, 1945), 166-67.
Catholic World, CLXI (June, 1945), 263-64.
Catholic World, CLXXX (January, 1957), 307.
Christian Science Monitor Magazine, (April 15, 1950), 8.
Commonweal, XLII (April 20, 1945), 16-17.
Illustrated London News, CCXIII (August 7, 1948), 250.
Life, XVIII (April 30, 1945), 81-83.
Life, XVIII (June 11, 1945), 12-13.
The Nation, CLX (April 14, 1945), 424.
The New Republic, CXII (April 16, 1945), 505.
The New Statesman & Nation, XXXVI (August 7, 1948), 113.
The New Yorker, XXI (April 7, 1945), 40.
Newsweek, XXV (April 9, 1945), 86.
Saturday Review, XXVIII (April 14, 1945), 34-36.
Saturday Review, XXXIX (December 8, 1956), 29.
The Spectator, CLXXXI (August 6, 1948), 173.
The Spectator, CC (March 8, 1958), 389.
Theatre Arts, XXIX (May, 1945), 263.
Theatre Arts, XXIX (June, 1945), 325-27.
Theatre Arts, XXIX (October, 1945), 554.
Theatre Arts, XXXI (August, 1947), 38-39.
Theatre Arts, XLI (February, 1957), 24.
Time, XLV (April 9, 1945), 86-88.


Milk Train Doesn't Stop Here Anymore

America, CVIII (March 30, 1963), 449.
Commonweal, LXXVII (February 8, 1963), 525-27.
Educational Theatre Journal, XV (May, 1963), 186-87.
Hudson Review, XV (Spring, 1962), 120-21.
The Nation, CXCVI (February 2, 1963), 106.
National Review, XIV (April 9, 1963), 291.
The New Republic, CXLVIII (February 2, 1963), 27.
The New Yorker, XXXVIII (January 26, 1963), 72.
Newsweek, LXI (January 28, 1963), 79.
Newsweek, LXIII (January 13, 1964), 70.
The Reporter, XXVIII (April 25, 1963), 48.
Saturday Review, XLVI (February 2, 1963), 20-21.
Saturday Review, XLVII (January 17, 1964), 22.
Theatre Arts, XLVII (February, 1953), 66.
Time, LXXX (July 20, 1962), 40.
Time, LXXXI (January 25, 1963), 53.
Time, LXXXIII (January 10, 1964), 52.


Night of the Iguana

America, CVI (February 3, 1962), 604.
Catholic World, CSCIV (March, 1962), 380-81.
The Christian Century, LXXIX (February 7, 1962), 169.
Commonweal, LXXV (January 26, 1962), 460.
Educational Theatre Journal, XIV (March, 1962), 69.
Hudson Review, XV (Spring, 1962), 250-51.
Life, LII (April 13, 1962), 67.
The Nation, CSCIV (January 27, 1962), 86.
The New Republic, CXLVI (January 22, 1962), 20.
The New Yorker, XXXVII (January 13, 1962), 61.
Newsweek, LIX (January 8, 1962), 44.
The Reporter, XXVI (February 2, 1962), 45.
Saturday Review, XLV (January 20, 1962), 36.
Theatre Arts, XLVI (March, 1962), 57.
Time, LXXIX (January 5, 1962), 53.


Orpheus Descending

America, XCVII (April 27, 1957), 148-50.
Catholic World, CLXXXV (June, 1957), 226-27.
Catholic World, CLXXXIX (June, 1959), 192-93.
The Christian Century, LXXIV (April 10, 1957), 455-56.
Commonweal, LXVI (April 26, 1957), 94-97.
Harper's, CCXIV (May, 1957), 76-77.
Illustrated London News, CCXXXIV (May 30, 1959), 942.
The Nation, CLXXXIV (April 6, 1957), 301-02.
The New Republic, CXXXVI (April 8, 1957), 21.
The New Statesman, LVII (May 23, 1959), 721-22.
The New Yorker, XXXIII (March 30, 1957), 84.
Newsweek, XLIX (April 1, 1957), 81.
Saturday Review, XL (March 30, 1957), 43.
The Spectator, CCII (May 22, 1959), 725-26.
Theatre Arts, XLI (May, 1957), 20.
Theatre Arts, XLII (September, 1958), 25-26.
Time, LXIX (April 1, 1957), 61.


Period of Adjustment

America, CIV (December 17, 1960), 410-11.
Catholic World, CXCII (January, 1961), 255-56.
The Christian Century, LXXVII (December 28, 1960), 1536.
Commonweal, LXXIV (June 2, 1961), 255.
Educational Theatre Journal, XIII (March, 1961), 51-53.
Horizon, III (March, 1961), 102-03.
Hudson Review, XIV (Spring, 1961), 83-85.
The Nation, CXCI (December 3, 1960), 443-44.
The Nation, CSCV (August 11, 1962), 59.
The New Republic, CXLIII (November 28, 1960), 38-39.
The New Yorker, XXXVI (November 19, 1960), 93.
Newsweek, LVI (November 21, 1960), 79.
The Reporter, XXIII (December 22, 1960), 35.
Saturday Review, XLIII (November 26, 1960), 28.
The Spectator, CCVIII (June 22, 1962), 823.
Theatre Arts, XLV (January, 1961), 57-58.
Time, LXXVI (November 21, 1960), 75.


The Rose Tattoo

Catholic World, CLXXII (March, 1951), 467-68.
Commonweal, LIII (February 23, 1951), 492-94.
English, XII (Summer, 1959), 184.
Illustrated London News, CCXXXIV (January 31, 1959), 180.
Life, XXX (February 26, 1951), 80-84.
The Nation, CLXII (February 17, 1951), 161-62.
The New Republic, CXXIV (February 10, 1951), 58.
The New Yorker, XXVI (February 10, 1951), 58.
Newsweek, XXXVII (February 12, 1951), 72.
Saturday Review, LXXIII (March 10, 1951), 22-24.
School and Society, LXXIII (March 24, 1951), 181-83.
The Spectator CCII (January 23, 1959), 103.
Theatre Arts, XXXV (April, 1951), 16.
Time, LVII (February 12, 1951), 53-54.


A Streetcar Named Desire

Atlantic, CLXXXVI (July, 1950), 94-95.
Catholic World, CLXVI (January, 1948), 358.
Catholic World, CLXXXIII (April, 1956), 67.
Commonweal, XLVII (December 19, 1947), 254.
Forum, CIX (February, 1948), 86-88.
France Illustration Supplement, V (November 12, 1949), 545.
Illustrated London News, CCXV (November 5, 1949), 712.
Life, XXIII (December 15, 1947), 101-04.
Life, XXVII (December 19, 1949), 66.
The Nation, CLXV (December 20, 1947), 686-87.
The New Republic, CXVII (December 22, 1947), 34-35.
The New Statesman & Nation, XXXVIII (October 22, 1949), 451.
The New Statesman & Nation, XXXVIII (December 17, 1949), 723.
The New Yorker, XXIII (December 13, 1947), 50-54.
The New Yorker, XXXII (February 25, 1956), 90.
Newsweek, XXX (December 15, 1947), 82-83.
Saturday Review, XXX (December 27, 1947), 22-24.
Saturday Review, XXXIX (March 3, 1956), 22.
School and Society, LXVII (March 27, 1948), 241-43.
The Spectator, CLXXXIII (December 17, 1949), 123.
Theatre Arts, XXXII (January, 1948), 10-13.
Theatre Arts, XXXII (February, 1948), 35.
Theatre Arts, XXXII (April, 1948), 30.
Theatre Arts, XXXII (October, 1948), 21.
Theatre Arts, XXXIII (June, 1949), 44.
Theatre Arts, XXXIII (November, 1949), 14.
Theatre Arts, XL (April, 1956), 24.
Time, L (December 15, 1947), 85.
Time, XIV (October 31, 1949), 54.
Time, LXVII (February 27, 1956), 61.


Summer and Smoke

Catholic World, CLXVIII (November, 1948), 161.
Catholic World, CLXXVI (November, 1952), 148-49.
Commonweal, XLIX (October 29, 1948), 68-69.
Forum, CX (December, 1948), 353-53.
The Nation, CLXVII (October 23, 1948), 473-74.
The New Republic, CXIX (October 25, 1948), 25-26.
The New Republic, CXIX (November 15, 1948), 27-28.
The New Yorker, XXIV (October 16, 1948), 51.
Newsweek, XXXII (October 18, 1948), 88.
Saturday Review, XXXI (October 30, 1948), 31-33.
Saturday Review, XXXV (May 10, 1952), 28.
School and Scoiety, LXVIII (October 30, 1948), 303-04.
The Spectator, CLXXXVII (December 7, 1951), 772.
Theatre Arts, XXXI (September, 1947), 11.
Theatre Arts, XXXIII (January, 1949), 10-11.
Time, LII (October 18, 1948), 82-83.


Sweet Bird of Youth

America, CI (April 4, 1959), 55-56.
Catholic World, CLXXXIX (May, 1959), 158-59.
Catholic World, CLXXXIX (June, 1959), 191-94.
The Christian Century, LXXVI (June 17, 1959), 726.
Hudson Review, XII (Summer, 1959), 255-60.
Life, XLVI (April 20, 1959), 71-73.
The Nation, CLXXXVIII (March 28, 1959), 281-83.
The New Republic, CXL (April 20, 1959), 21-22.
The New Yorker, XXXV (March 23, 1959), 90-92.
Newsweek, LIII (March 23, 1959), 26.
Saturday Review, XLII (March 28, 1959), 26.
Saturday Review, XLII (April 18, 1959), 29.
Theatre Arts, XLIII (May, 1959), 21-22.
Time, LXXIII (March 23, 1959), 58.


Twenty-Seven Wagons Full of Cotton

America, XCIII (Mary 14, 1955), 193.
Catholic World, CLXXXI (June, 1955), 227.
Commonweal, LXII (June 19, 1955), 255.
The New Republic, CXXXII (May 2, 1955), 22.
The New Yorker, XXXI (April 30, 1955), 69-71.
Saturday Review, XXXVIII (Mary 14, 1955), 26.
Theatre Arts, XXXIX (July, 1955), 17.
Time, LXV (May 2, 1955), 78.


You Touched Me!

Catholic World, CLXII (November, 1945), 87-88, 166-67.
Commonweal, XLII (October 12, 1945), 623.
Free World, X (November, 1945), 87-88.
The Nation, CLXI (October 6, 1945), 349-50.
The New Republic, CXIII (October 8, 1945), 469.
The New Yorker, XXI (October 6, 1945), 48.
Theatre Arts, XXIX (November, 1945), 618-21.
Theatre Arts, XXIX (December, 1945), 680.
Time, XLVI (October 8, 1945), 77.

© Jack Fritscher, Ph.D. & Mark Hemry

Editor's Note: Anyone caught co-opting or paraphrasing these concepts, facts, names, titles, word-coinage, and timelines without crediting Jack Fritscher as the precise source will be aggressively prosecuted to the full extent allowed by law and such violation will be publicly announced in print. Fair use of this material with proper credit is, of course, acceptable. For permission for quotation exceeding fair-use, which will always be gladly given, please EMail Jack Fritscher at j_fritscher@earthlink.net or use the EMail button found on home web pages. --Mark Hemry, Editor

Copyright 2007 by Jack Fritscher, Ph.D. & Mark Hemry - ALL RIGHTS RESERVED