The spellbinding last full-length play produced during the author's lifetime is now published for the first time.
Christmas 1982: Cornelius and Bella McCorkle of Pascagoula, Mississippi, return home one midnight in a thunderstorm from the Memphis funeral of their older son to a house and a life literally falling apart--daughter Joanie is in an insane asylum and their younger son Charlie is upstairs having sex with his pregnant, holy-roller girlfriend as the McCorkles enter. Cornelius, who has political ambitions and a litany of health problems, is trying to find a large amount of moonshine money his gentle wife Bella has hidden somewhere in their collapsing house, but his noisy efforts are disrupted by a stream of remarkable characters, both living and dead."synopsis" may belong to another edition of this title.
Tennessee Williams (1911–1983) was America’s most influential playwright. Readers have devoured his poetry, essays, short stories, and letters, as well as his fantastic late plays, his remarkable corpus of one-acts, and his greatest plays―The Glass Menagerie, A Streetcar Named Desire, Cat on a Hot Tin Roof, The Night of the Iguana, The Rose Tattoo, Suddenly Last Summer, and Camino Real. Williams is a cornerstone of New Directions―we publish everything he wrote. He is also our single bestselling author.
The last full-length play Williams saw through to opening night, A House Not Meant to Stand, was developed from a one-act, Some Problems for the Moose Lodge, and is a gothic comedy containing many familiar Williams themes: eccentricity, hysteria, madness, sexual misconduct, disappointed lives, untimely death, and a once-great southern family fallen on hard times. The central metaphor is announced by the title referring to an elderly couple’s mansion, which, not unlike Poe’s House of Usher, is literally falling apart and also represents the physical and mental decay of its occupants, who cannot cope with their present predicament. At the start of the play, they have just returned from the funeral of the wife’s favorite, a gay son who fled to Memphis to get away from his oppressive family. Like many of Williams’ later plays, this one has moments of pure brilliance but lacks the fluidity, grace, and power of his best work. Still, there is enough of worth in it to interest Williams scholars and fans alike. --Jack Helbig
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