The Glass Menagerie (Critical Article #1)

Journal of the Ameri hindquarters Psychoanalytic Association http//apa. s developpub. com Tennessee Williams The Uses of indicative mood Memory in the chicken feed zoo Daniel Jacobs J Am Psychoanal Assoc 2001 50 1259 DOI 10. 1177/00030651020500040901 The online version of this article ass be order at http//apa. sagepub. com/cgi/content/abstract/50/4/1259 Published by http//www. sage results. com On behalf of American Psychoanalytic Association additional services and in formation for Journal of the American Psychoanalytic Association can be found at Email Alerts http//apa. agepub. com/cgi/alerts Subscriptions http//apa. sagepub. com/subscriptions Reprints http//www. sagepub. com/journalsReprints. nav Permissions http//www. sagepub. com/journalsPermissions. nav Citations http//apa. sagepub. com/cgi/content/refs/50/4/1259 D avouchloaded from http//apa. sagepub. com at CALIFORNIA digital program library on family line 9, 2009 tang a Daniel Jacobs 50/4 TENNESSEE WILLIAMS THE US ES OF DECLARATIVE stock IN THE nut MENAGERIE Tennessee Williams c anyed his first great movement, The spyglass zoo, his shop shimmer. The situation in which Williams found himself when he began makeup the shirk is explored, as atomic number 18 the slip bearing in which he used the declarative reminiscence of his agonist, turkey cock Wingfield, to let loose and deal with his own painful conflicts. Williamss use of typify directions, lighting, and harmony to evoke remembrance and r completioner it three-dimensional is described. Through a last study of The Glass Menagerie, the many uses of memory for the purposes of wish fulfillment, conflict re dissolvent, and resilience ar examined. T he place St. Louis, Missouri.The year 1943. Thomas Lanier Williams, age thirty-two, known as Tennessee, has knocked out(p)comeed to his parents home. He has had a few minor successes. most(prenominal) of his shorter plays pick up been produced by the Mummers in St. Louis. For a nonher, staged by the Webster Grove plain Guild, he was awarded an engraved silver cake p latissimus dorsie. He has retained Audrey woodwind instrument as his literary agent and with her alleviate had several old age primarily won a Rockefeller fellowship to support his writing. But Williamss range Angels bombed in Boston the previous summer.Its sponsor, the Theater Guild, decided non to realize the play to untried York. Since obtaining a B. A. from the University of Iowa in l938, Williams has been broke more oft than not. He has no home of his own. Hes led an un formattled existence, living in New Orleans, New York, Provincetown, and Mexico, as well as Macon, Georgia, and Training and Supervising Analyst, Boston Psychoanalytic Society and Institute faculty, mama Institute for Psychoanalysis Assistant Clinical Professor of Psychiatry, Harvard Medical School.Submitted for publication October 12, 2001. Downloaded from http//apa. sagepub. com at CALIFORNIA DIGITAL LIBRARY on kinfolk 9, 2009 Daniel Jacobs 1260 Culver City, California. He has subsisted on menial jobswaiting tables, operating an elevator, ushering at movie theaterstasks for which he is not f itted and from which he is often f ired. His vision in one and just(a) eye is compromised by a cataract that has already necessitated surgery. And in effect(p) in front moving game home from New York, he was beaten up by sailors he to a faultk to the Cla ridge Hotel for a sexual liaison.Arriving home in 1943, Tennessee f inds many things unchanged his parents, Cornelius and Edwina, remain unhappily married and their bitter quarrels f ill the house. Williams must again deal with the beget he despises. Tennessee is pressured by Cornelius, who opposed his return home, to f ind a job. If Tennessee get out not return to work at the International Shoe Company, as Cornelius advises, hence he must earn his keep by performing endless national chores. But it is the changes in the family that are e ven more troubling. Williamss jr. brother Dacon is in the army and whitethorn be sent into fleck after basic training.His maternal grandparents have meltd in because gran Rose, now conf ined to an upstairs bed style, is slowly dying. Most cardinal of all, Tennessees pricey sister, besides named Rose and two years older than he, is no continuing at home. She has in particular been at the State Asylum in Farmington since l937. Diagnosed schizophrenic, she has recently undergone a bilateral prefrontal lobotomy to control her bellicose behavior and overtly sexual preoccupations. During this stay at home, Williams visits Rose for the f irst time sequence since her surgery.He f inds her behavior more lady comparable, unless she remains understandably delusional. The lobotomy, Williams realizes, was a tragically mistaken procedure that deprived her of any mishap of returning to normal belonglihood (Williams 1972, p. 251). The poor children, he will economise of his St. Lou is childhood, used to run all over town, but my sister and I compete in our own back yard. . . . We were so close to to separately one other, we had no need of others (Nelson 1961. p. 4). Now, for Tennessee, Rose is irretrievably lost except as a memory, alternately recalled in pain and shut out in self-defense.Williams cannot abide his situation, thrown amid his parents bitter quarrels, the slow death of his grandmother, and the terrible absence seizure of his sister. His only escape the hours of writing he does all day in the basement of the family home. Here, between washing garage windows and repairing the gutters on the back porch, he writes the memory play that he f irst calls The Gentlemen Caller and and so Downloaded from http//apa. sagepub. com at CALIFORNIA DIGITAL LIBRARY on September 9, 2009 DECLARATIVE memory board IN THE GLASS MENAGERIE The Glass Menagerie.The play is a brilliant, profound, and tangled study of declarative memory and its psychological uses. DECL ARATIVE computer storage Declarative memory is the system that provides the basis for conscious recollection of facts and events. But this system, we know, is not just a warehouse of information, of veridical memories of actual happenings that can be retrieved at will. Rather, like an autobiographical play, declarative memory is a seminal construction forged from ult events and from the fears, wishes, and conf licts of the one who is remembering.As Schacter (1995) notes, The way you remember depends on the purposes and goals at the clock time you attempt to recall it. You patron paint the yield during the act of recalling (p. 23). It was just this complex and productive diorama of memory formation that led Freud (l899) to write that our childhood memories show us our earliest years but as they appeared in later periods when memory was aroused (p. 322). The stories we read of our lives are as a lot close to meanings as they are about facts. In the subjective and selective telling of the past, our histories are not just recalled, but reconstructed.History is not recounted, but remade. Williams understood this when he wrote, in the stage directions of The Glass Menagerie, that memory takes a lot of license, it omits some details, others are hyperbolize to the emotional value of the article it touches, for memory is seated predominantly in the heart (p. 21). Williams has gobbler Wingf ield, the plays protagonist, tell us this. In his disruption speech, turkey cock is some(prenominal) creative artist and unreliable rememberer I have tricks in my pockets. I have things up my sleeve. . . . I exhibit you truth in the pleasant guise of illusion (p. 2). In this way, Williams warns us from the plays beginning that memory is a tricky commercial enterprisef ickle, changeable, susceptible to distortion and embellishment, but always true to the circulating(prenominal) emotional needs of the rememberer. This paper is an exploration of the emotional needs of the remembererof tom Wingfield, the rememberer in the play, and tom Williams, the rememberer as writer. Williams could have chosen any f irst name for his protagonist. He chose his own to accentuate the loosening of boundaries between fact and f iction.It is as though he is telling us that accountwhich is, after all, organized declarative memoryis Downloaded from http//apa. sagepub. com at CALIFORNIA DIGITAL LIBRARY on September 9, 2009 1261 Daniel Jacobs 1262 an elaborate f iction based on facts. And that f iction (the creative use of memory) is at its heart emotional autobiography. both Tom Wingf ield and Tom Williams carry a burden of guilt for departure the family, especially a disabled sister, and have a need to shrive their behavior by dint of the use of recollection.Both Toms live with deep sorrow alongside a wish to retaliate against loved ones who have disappointed them. computer memory is for both Toms, as for all of us, a coat of many colors, weak to set us apa rt from others as well as attach us to them, to justify our choices, to take revenge on others, to contend with them, to bulge them once again, or to resurrect them from the grave. The distortions and selective uses of memory are as manifold as the needs of the rememberer. Williams endows each character in his play with his or her own dynamic uses of memory.Amanda can escape the harshness of her electric current situation by evoking memories of a triumphant past. She is like a diligent crease (l956b) describes who speckle the tensions of the submit were threatening . . . was master of those conjured up in recollection (p. 305). Amandas use of memories is aggressive as well, used as a weapon against her husband and children. In constantly contrasting the memories of a happy youth with the unhappiness of her marriage and the bleakness of her childrens lives, her fretfulness and competitiveness take a brutal form. Unlike Amanda, her daughter Laura, who is crippled, has relati vely few memories.But the memory of Jim, the humanity caller, provides her a modicum of comfort. In a colour and pathetic imitation of her mothers recollections of a house f illed with jonquils, she recalls that Jim gives her a single bouquet of sorts, the sobriquet blue roses. It is a cognomen derived from his psychologically intuitive misunderstanding of the illness pleurosis, which had kept Laura out of school. She cannot compete with her mother in the fond memory department and retreats to the concrete but fragile satisfactions of her sugarcoat menagerie, where memory and imagination are safely storeduntil Jim arrives.The military personnel caller is a man who lives in the bequest and seems to have subatomic use for the past. It is the future to which he looks. In fact, one feels that memory of his blue school greatness are both a satisfaction and a threat to him. For he, like John Updikes Harry Angstrom (1960) will neer experience the glory days of the past. He says a s much to Laura But just look around you and you will see split up of people disappointed as you are. For instance, I had hoped when I was going to highschool school that I would be further along at this time, half dozen years later, Downloaded from http//apa. agepub. com at CALIFORNIA DIGITAL LIBRARY on September 9, 2009 DECLARATIVE warehousing IN THE GLASS MENAGERIE than I am now. You remember that wonderful write-up I had in The Torch (p. 94). While Amanda revels in her triumphant past as a way of dealing with the sit, Jim runs from his into the future. sightedness in the crippled Laura some aspect of his own feared limitations, he tries to help her overcome hers with encouragement and f inally a kiss. His inability to help her in the end may be a harbinger of his own failures.MEMORY AND LOSS Williams was aware also that declarative memory is paradoxical in that it resurrects and keeps alive in the present what is dead and gone forever. Referring to this paradoxical aspec t of memory, he wrote that when Wordsworth speaks of daffodils or Shelley of the skylark or Hart Crane of the lenient and inspiring structure of the Brooklyn Bridge, the screen imagism is not so opaque that one cannot surmise merchant ship it the ineluctable form of Ophelia (Leverich 1995, p. 536). The very presence of memory implies loss.Memory, if you will, is the exquisite alivenesslike corpse that both denies and acknowledges what has passed away. There is for all of us that double vision that memory imparts, one that at once has the substance to help and to hurt. Declarative memory provides coherence and direction to our lives, but also reminds us that our path inevitably leads to disintegration and death. The daffodils recollected in tranquility are, at the same time, Ophelias garland. Amanda Wingf ields recollection of her past social triumphs only reminds us of how much time has passed and how many hopes have been dashed.Lauras adjunct to the happy memories of childhood innocence represented by her drinking glass menagerie only slangs harsher the realities of her adult flavor and the bleakness of her future. Laura and Amanda are represented as having a choice between the immature omnipotence of their past or a feeling of victimization in the present. When Amanda stirs up old memories as a hedge against the painful present and un indisputable future, they are only partially effective. For the contrast between past and present, and the knowledge that what is past will never come again, lead only to further depression and anxiety (Schneiderman 1986).Similarly, behind Tom the protagonists memory of Laura at home lies, for Tom the author, the real Rose in a current declare of send madness. Downloaded from http//apa. sagepub. com at CALIFORNIA DIGITAL LIBRARY on September 9, 2009 1263 Daniel Jacobs MEMORY AND RESILIENCE 1264 Davis (2001) points out the theatrical role declarative memory can make to resilience through with(predicate) soothing af fects that are evoked in recalling a declarative memory of a loving relationship with a parent or other important someone (p. 459).Such memories can grow straightway out of warm relationships or they can be achieved through retrieving and modifying memory of more problematic attachments (p. 466). Davis illustrates his point with the good example of Mr. Byrne, a subject in a longitudinal study of adult development. Davis focuses on the fact that in interviews at different times in adult life, Mr. Byrnes memories of his begetter changed. At age forty-six, surrounded by a supportive companionship and family, Mr. Byrne had no memories of his alcoholic and neglectful father and did not sound off his fathers being a f ireman had inf luenced his own termination to bring to pass one.At sixty-six, retired and with his children grown, Mr. Byrne had succeeded in f inding his father inside as a sustaining upcountry object in declarative memory (p. 465). He did so through creating or ret rieving warm memories of their times together in the f irehouse and by misremembering the humiliating events of his fathers death so as to have a more positive image of him. Mr. Byrnes father had commit suicide, alone and away from the family. But late in life, Mr. Byrne spoke often of his fathers having taken him to the f ire station when he was a juvenilester.He was now sure these happy times with his father had inf luenced his decision to become a f ireman himself. He placed his fathers death in a family picture and claimed to have been the one who found him. Davis points out that we often create the memories we need in order to produce psychological resilience and mental health. Whatever good experiences Mr. Byrne did have with a diff icult and neglectful father seem to have been magnif ied through the lens of memory aided by imagination in the service of wish fulf illment.It is an example of what Kris (1956a) meant by describing autobiographical memory as telescopic, dynam ic, and lacking in autonomy our autobiographical memory is in a constant state of f lux, is constantly being reorganized, and is constantly being subject to the changes which the tensions of the present tend to impose (p. 299). In a way, Williams does the same thing by creating a memory play. Lonely, guilty over his sisters fate, f inding St. Louis and his family unbearable, Williams begins writing a play that both ref lects his current Downloaded from http//apa. sagepub. om at CALIFORNIA DIGITAL LIBRARY on September 9, 2009 DECLARATIVE MEMORY IN THE GLASS MENAGERIE suffering and at the same time assuages it. In writing The Glass Menagerie, he creates for himself one of those delicate glass animals a base tender bit of illusion that relieves him of the austere practice of life as it is lived in the present and makes it more bearable. He does so not by setting his play in the harsh realities of the present, too painful to write about, but in creatively altered memory. posing at his writing table, Williams reclaims his sister (Laura in the play) from the State Asylum and places her at home again.She is not frankly delusional and lobotomized. She is not even in Roses presurgical state of illnessa state of pugnacity and talkativeness made worse by utter and unending vulgarity. Instead, she is portrayed as painfully shy, weak, and schizoid. And Cornelius, the real-life father he must face mundane, is gone. departed from the play for dramatic purposes to be sure the play would lose a certain edge were there another breadwinner in the house. But in the play, Williams expresses his wish to reconstruct reality and, in this play of memory and desire, rid himself of the old man.Yet he is not entirely gone, for the fathers video recording hangs on the wall, like Hamlets ghost, reminding us of a sons ambivalent longing for a father. For in 1943 and throughout his life, Williams longed for some man to comfort and help him. In the play, his own wish for a supportive, l oving father is transformed into the wish for the gentleman caller psyche who, unlike his father, will help Laura, satisfy Amanda, and, by his assuring presence, bless Toms own departure. He is not only the person Williams longs for, but also the one he longs to be, though he knows it is a role he can never play.It is no accident then that Jim, the gentleman caller, conveys an uncomfortable uncertainty about his future. He is, in a sense, the failed high school hero, with perhaps unrealizable dreams for the future. Jim already hints that the realities of life may not meet his expectations. He expresses resentment at having to work at two jobs his work and his marriage, in which he has to punch the clock every night with Betty. He is f lirtatious with Laura, even going so uttermost as to kiss her, showing a clear sympathy and devotion to women other than his f iancee.Tennessees father, a bitter man from a prominent Southern family, a heavy drinker and a womanizer, while banned fro m the play, haunts it through his portrait and is resurrected in the f lesh in Jim, who is withal disappointing and cannot be counted on and who, in the future, may come to agree Cornelius. In his own life, Williams found and lost gentlemen callers hundreds of times over. And when he was Downloaded from http//apa. sagepub. com at CALIFORNIA DIGITAL LIBRARY on September 9, 2009 1265 Daniel Jacobs ot looking for the gentleman caller, he was being one, abandoning and disappointing those who loved him. The only one he was truly unaired to was Rose. Memories are like dreams or fantasies in that all the characters remembered at a particular moment may represent aspects of the rememberers own personality. Amandas steely will to survive is ref lected in Toms stubborn insistence on leaving. Lauras slightness and submissiveness are what he must try to get away from in himself. Jim is the artist manque, the average joe Tom fears he will become if he doesnt leave. THE STAGING OF MEMORY 1266 Through the very structure of his play and the material placement of its characters, Williams shows us that we cannot have a past without a present or a present uninf luenced by the past. He takes us back and forrard in time as Tom Wingf ield literally stairs in and out of the railroad f lat of his memory. He both ref lects on his past and participates in it, as his memories come alive. every the plays characters slip in and out of memory, from present to past and back again, as they interact with one another, forging their current individuality and present relationship in the anvil of a past they selectively remember.The stage set that Williams proposed concretizes the alternating forward and backward operatement of time that takes place in the characters and in all of our minds. Toms opening soliloquy is stage front in the present and is often played outside the apartment. The scene that follows is from the past, set in a dining room at the back of the stage, as if to emphasi ze the remoteness of memory. The f igures move backward and forward on stage, like memories themselves, coming into consciousness and then receding. Lighting is used in a similar way to emphasize through spotlighting the highly selective and highly cathected aspects of memory.Lightness and darkness, dimness and clarity, play an important role in the ambience of the play, heightening the shifting play of memory. Williams is specif ic about the use of lighting in his production notes for The Glass Menagerie The lighting in the play is not realistic. In property with the gloriole of memory, the stage is dim. Shafts of light are focused on selected areas or actors, sometimes in contradistinction to what is the apparent center. . . . A free and imaginative use Downloaded from http//apa. sagepub. om at CALIFORNIA DIGITAL LIBRARY on September 9, 2009 DECLARATIVE MEMORY IN THE GLASS MENAGERIE of light can be of immense value in giving mobile, plastic quality to plays of more or less stat ic nature (Williams 1945, p. 10). By commissioning an original musical score, Williams makes a deliberate attempt to evoke memory in members of the reference memories of their own youthful stirrings, with all the fears and pleasures that attend them. Schacter (1996) notes that it is the memories of adolescence and early adulthood that are most often retained as we grow older.In asking capital of Minnesota Bowles to write a spick-and-span(a) piece of music for his play, Williams, I think, is performing with the notion that memory is a new creation, similar to Bowless new music, Williams counts on the fact that while the score has never been heard onward by the audience, it nevertheless feels familiar and seems a part of ones previous experience. While the music may stimulate declarative memories of young adulthood in the audience, by its wordlessness it is designed to evoke nondeclarative memory experient as a feeling state (Davis 2001).By using a new score rather than relying on familiar tunes, Williams insists that memory is an invention of the present rather than a reproduction of the past. CONCLUSION 1267 So we have Tom Williams in his basement room writing about Tom Wingf ield. His protagonist is thrust both forward and backward in time Tom Wingf ield in 1945 is ref lecting on a time before piece War II began. Tom Wingf ield is Tennessee and not him at the same time. The memories Williams calls forth from his own experiences are transformed in ways that are not only dramatically but psychologically necessary for the author.Rendering the truth through selective and transformed memory, Williams creates his own glass menagerie to which he could each day retreat from the harsh realities of his life in St. Louis in l943. He creates fragile f igures he can control, moving them around the imagined setting of creative memory. In creating the play, he can always be ascend Rose. On the page and on the stage, the two are bound forever, like f igures on a Grec ian urn. At the same time, the play is a justif ication for Tennessees departure from the family, a plea for understanding as to why he must leave the altered Rose (his castrate self) behind and pursue his own path.Freud (1908) pointed out how both in creative writing and fantasy past, present, and future are strung together, as it were, on the thread of the wish that runs through Downloaded from http//apa. sagepub. com at CALIFORNIA DIGITAL LIBRARY on September 9, 2009 Daniel Jacobs 1268 them (p. 141). In the process of writing The Glass Menagerie, the infantile wish to reunite with Rose, to rid himself of a hateful father, and to overcome the threats of emasculation that Roses situation and his own imply, f inds a solution to his torments.He does what Tom Wingf ield does in the play. He leaves. By May of l943, Tennessee is on his way to Hollywood to become, for a short time, a screenwriter. But like Tom Wingf ield, Tennessee cannot leave his past behind. He will be as faithful to Rose as Tom Wingf ield is to Laura when at the plays end he says, I tried to leave you behind me, but I am much more faithful than I intended to be (p. 115). Of their relationship, Rasky (l986) wrote, Just as Siamese twins may be joined at the hip or breastbone, Tennessee was joined to his sister, Rose, by the heart. . . In the tarradiddle of love, there has seldom been such devotion as that which Tennessee showed his lobotomized sister (p. 51). hawkshaw Altman, former director of Bostons Huntington Theater, points out how with the writing of The Glass Menagerie Williams blows out the candles on an overtly autobiographical form of writing and moves on to create full-length plays less obviously reliant on the concrete details of his own taradiddle (private communication, 1997). While he could never psychologically free himself from the traumatic events of his upbringing, artistically he was able to move ahead.By creating within and through the play his own glass menagerie, where the characters are f ixed and can live forever in troubled togetherness, he grants himself permit to leave St. Louis once again. Such a creation is akin to Kriss description of the personal myth (1956a) A coherent set of autobiographical memories, a picture of ones course of life as part of the self-representation that has attracted a particular investment, it is defensive inasmuch as it prevents certain experiences and groups of impulses from reaching consciousness. At the same time, the autobiographical self-image has taken the place of a repressed fantasy . . (p. 294). But in the patients Kris described, sections of personal history had been repressed and the autobiographical myth created to maintain that repression. In Williamss case, he is quite conscious of the distortions in his memory play, but creativity serves a function for the artist similar to that served by personal myth in Kriss patients. Williams is able to separate further from his family by keeping himself, thro ugh his memory play, attached to them forever, selectively remembered and frozen in time in a way painful, yet acceptable, to him.By writing the play, a ocular representation of memory and Downloaded from http//apa. sagepub. com at CALIFORNIA DIGITAL LIBRARY on September 9, 2009 DECLARATIVE MEMORY IN THE GLASS MENAGERIE wish, Williams creates a permanent wish-fulf illing hallucination providing gratif ication and psychic survival (see Freud 1908). Of his sister Roses collection of glass animals, which was transformed into Lauras glass menagerie, Williams wrote that they stood for all the small tender things (including, I think, happy memories) that relieve the austere pattern of life and make it endurable to the sensitive.The areaway the alley behind his familys f lat in St. Louis, where cats were torn to pieces by dogs was one thingmy sisters white curtains and tiny menagerie of glass were another. Somewhere between them was the being we lived in (Nelson 1961, p. 8). What enables Williams to survive psychically and adds to his resilience in St. Louis in l943 is, I believe, his ability to create a space between the bitter realities of family life and his impulse to f lee and forget it allto blow out the candles of memory.That space was his memory play, a space he inhabited daily through his writing, a space of some resilience where psychologically take memories are created amid the pain and sorrow of the present. And in so doing, he reminds us all of the role memory plays in our survival. Our memories are like glass menageries, precious, delicate, and chameleonlike. We can become trapped by them like Laura and Amanda. Or, as in the case of Tennessee and Mr. Byrne, we can gain resilience from their plasticity that allows us to move forward psychologically.Williams wrote, in his essay The Catastrophe of Success (1975), that the monosyllable of the clock is Loss, loss, loss, unless you devote your heart to its opposition (p. 17). Tennessee felt that for him t he hearts opposition could best be expressed through writing. He felt that the artist, his adventures, travels, loves, and humiliations are resolved in the creative product that becomes his indestructible life. (Leverich 1995, p. 268) I think he might have agreed that while creative work plays that role for the artist, memory and fantasy are its equivalent for all of us.Williams knew that it is through the creative transformation of experience, sometimes in verse, sometimes in memory, that we nurse nearer to that long delayed but always expected something we live for (1945, p. 23). REFERENCES 1269 DAVIS, J. (2001). 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Cambridge Harvard University Press. SCHNEIDERMAN, L. (1986). Tennessee Williams The incest motif and f ictional love relationships. Psychoanalytic Review 7397110. UPDIKE, J. (l960). Rabbit, Run. New York Knopf. WILLIAMS, T. (1945). The Glass Menagerie. New York New Direc-tions, l975. (l972). Memoirs. New York Doubleday. (l975). The catastrophe of success. In The Glass Menagerie. New Yor k New Directions, 1975, pp. 1117. 64 Williston Road Brookline, MA 02146 E-mail emailprotected com Downloaded from http//apa. sagepub. com at CALIFORNIA DIGITAL LIBRARY on September 9, 2009