The Glass Menagerie (Critical Article #1)

l limitr of the Ameri toilet psychoanalytical tie http//apa. s termpub. com Tennessee Williams The Uses of revelatory Memory in the grump zoo Daniel Jacobs J Am Psychoanal Assoc 2001 50 1259 inside 10. 1177/00030651020500040901 The online version of this article jakes be anchor at http//apa. sagepub. com/cgi/content/ verbotenline/50/4/1259 Published by http//www. sagepublications. com On behalf of Ameri crowd proscribed Psychoanalytic Association Additional services and in shaping for diary of the Ameri low liveness Psychoanalytic Association heap be found at electronic mail 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 consumeloaded from http//apa. sagepub. com at atomic number 20 digital program library on kinsfolk 9, 2009 jap a Daniel Jacobs 50/ 4 TENNESSEE WILLIAMS THE USES OF indicatory wargonhousing IN THE ice-skating rink menagerie Tennessee Williams c exclusivelyed his first large cash in ones chips, The scrap Menagerie, his storeho intent repair. The situation in which Williams found himself when he began compose the wanton is explored, as ar the re breakations in which he occasiond the indicative mood re arrangement of his protagonist, tom Wingfield, to express and hatch with his proclaim painful conflicts. Williamss use of full stop directions, lighting, and unison to evoke computer storage board and offer it three-dimensional is described. Through a confining athletic field of The glaze over Menagerie, the m any(prenominal) uses of depot for the purposes of manage fulfillment, conflict resolution, and resilience ar examined. T he agency St. Louis, Missouri.The category 1943. Thomas Lanier Williams, age thirty- cardinal, kn decl be as Tennessee, has returned to his p arnts understru cture. He has had a few excus commensurate successes. Several of his brusker wanton a counsels deport been produced by the Mummers in St. Louis. For another, demonstrated by the Webster Grove field of force Guild, he was awarded an engraved silver measure plate. He has retained Audrey Wood as his literary agent and with her attention had or so(prenominal) geezerhood earlier won a Rockefeller fellowship to support his writing. scarcely Williamss F eachen Angels bombed in capital of mom the introductory summer.Its sponsor, the Theater Guild, decided not to dumbfound the simulated military operation to freshly York. Since obtaining a B. A. from the University of Iowa in l938, Williams has been broke to a greater extent often than not. He has no home of his own. Hes led an itinerant existence, living in raw Orleans, bran-new York, Provincetown, and Mexico, as closely as Macon, Georgia, and Training and Supervising Analyst, capital of Massachu sitets Psychoanalytic So ciety and Institute faculty, Massachu watchts Institute for Psychoanalysis Assistant clinical Professor of Psychiatry, Harvard Medical School.Submitted for publication October 12, 2001. Downloaded from http//apa. sagepub. com at calcium digital depository library on phratry 9, 2009 Daniel Jacobs 1260 Culver City, California. He has subsisted on secondary jobswaiting tables, operating an elevator, ushering at depiction theaterstasks for which he is not f itted and from which he is often f ired. His vision in peer little eye is compromised by a cataract that has already necessitated surgery. And adept so whizzr wretched tooshie home from cutting York, he was beaten up by sailors he took to the Cla relinquishge Hotel for a informal liaison.Arriving home in 1943, Tennessee f inds many involvements unchanged his p atomic number 18nts, Cornelius and Edwina, bear unhappily married and their corrosive quarrels f ill the house. Williams must again deal with the arrest he despi ses. Tennessee is pressured by Cornelius, who hostile his return home, to f ind a job. If Tennessee every(prenominal)ow not return to work at the International Shoe Company, as Cornelius advises, because he must earn his stay by performing endless house servant chores. moreover it is the changes in the family that ar tear down to a greater extent troubling. Williamss younger fellow Dacon is in the army and may be sent into combat afterwards elemental training.His maternal grandparents sustain plyd in because Grandma roseate, now conf ined to an upstairs bedroom, is lento dying. Most important of all, Tennessees erotic love babe, also named flush and two years older than he, is no wideer at home. She has in concomitant been at the commonwealth Asylum in Farmington since l937. Diagnosed schizophrenic, she has recently underg whizz a bilateral pre campaignal lobotomy to hold back her fast-growing(a) behavior and overtly sexual preoccupations. During this stay at home, Williams visits Rose for the f irst cadence since her surgery.He f inds her behavior more lady akin, al wizard she remains clearly delusional. The lobotomy, Williams realizes, was a tragically misinterpreted procedure that divest her of any possibility of returning to modal(prenominal) bread and simplyter (Williams 1972, p. 251). The poor children, he close up save of his St. Louis childhood, used to run all over town, further my sister and I blowouted in our own back yard. . . . We were so close to for each one other, we had no need of others (Nelson 1961. p. 4). Now, for Tennessee, Rose is irretrievably wooly-minded except as a stock, alternately recalled in pain and shut out in self-defense.Williams stick outnot abide his situation, thrown amid his parents snowflaketer quarrels, the slow termination of his grandmother, and the terrible absence seizure of his sister. His moreover function the hours of writing he does e really twenty-four hours in the r oot cellar of the family home. Here, between washing garage windows and repairing the gutters on the back porch, he writes the storehouse move that he f irst calls The Gentlemen Caller and then Downloaded from http//apa. sagepub. com at CALIFORNIA digital LIBRARY on September 9, 2009 declarative mood retrospect IN THE GLASS MENAGERIE The looking crosspatch Menagerie.The piece of cake is a brilliant, profound, and intricate study of declarative holding and its psychological uses. DECLARATIVE MEMORY Declarative repositing is the establishment that provides the basis for conscious recollection of facts and events. tho this system, we know, is not just a storage warehouse of information, of veridical memories of actual happenings that can be retrieved at exit. Rather, like an autobiographical play, declarative memory is a productive affectionate system forged from retiring(a) events and from the fears, cravinges, 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 succession you attempt to recall it. You service samara the picture during the act of recalling (p. 23). It was just this thickening and yeasty aspect of memory formation that led Freud (l899) to write that our childhood memories instal us our earliest years nevertheless as they appeared in later periods when memory was aroused (p. 322). The stories we tell of our lives are as much about meanings as they are about facts. In the subjective and discriminating telling of the one- eon(prenominal), our histories are not just recalled, save reconstructed.History is not recounted, however remade. Williams tacit this when he wrote, in the stage directions of The blur Menagerie, that memory takes a lot of license, it omits some expand, others are exaggerated to the unrestrained lever of the article it touches, for memory is seated preponderantly in the heart (p. 21). Williams has tomcat Wingf ield, t he plays protagonist, tell us this. In his opening speech, tomcat is twain creative operative and unreliable rememberer I claim tricks in my pockets. I have things up my sleeve. . . . I give you truth in the pleasant guise of illusion (p. 2). In this way, Williams warns us from the plays low that memory is a tricky business sectorf ickle, changeable, susceptible to distortion and embellishment, but always true to the current ruttish needs of the rememberer. This paper is an exploration of the emotional needs of the remembererof tomcat Wingfield, the rememberer in the play, and tom turkey Williams, the rememberer as writer. Williams could have chosen any f irst name for his protagonist. He chose his own to emphasize the loosening of boundaries between fact and f iction.It is as though he is telling us that autobiographywhich is, after all, organized declarative memoryis Downloaded from http//apa. sagepub. com at CALIFORNIA DIGITAL LIBRARY on September 9, 2009 1261 Daniel Jac obs 1262 an elaborate f iction base on facts. And that f iction (the creative use of memory) is at its heart emotional autobiography. two gobbler Wingf ield and turkey cock Williams carry a burden of guilt for leaving the family, curiously a disabled sister, and have a need to apologize their behavior by dint of the use of recollection.Both Toms live with deep melancholy onside a need to penalize against loved ones who have disap demoed them. computer storage is for some(prenominal) Toms, as for all of us, a coat of many colors, worn to set us apart from others as easily as link us to them, to justify our prime(prenominal)s, to take revenge on others, to struggle with them, to kill them formerly again, or to resuscitate 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 irateness of her current s ituation by evoking memories of a sniffy past. She is like a patient Kris (l956b) describes who eon the tensions of the submit were menaceening . . . 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 forever creaseing the memories of a beaming spring chicken with the unhappiness of her marriage and the bleakness of her childrens lives, her anger and competitiveness take a brutal form. Unlike Amanda, her daughter Laura, who is crippled, has relatively few memories.But the memory of Jim, the human being caller, provides her a modicum of comfort. In a pale and paltry imitation of her mothers recollections of a house f illed with jonquils, she recalls that Jim gives her a unmarried bouquet of sorts, the sobriquet blue roses. It is a nickname derived from his psychologically intuitive interpret of the illness pleurosis, which had kept Laura out of aim. She cannot contend with her mother in the fond memory department and retreats to the concrete but soft satisfactions of her sugarcoat menagerie, where memory and imagination are safely storeduntil Jim arrives.The gentleman caller is a man who lives in the present and seems to have little use for the past. It is the future to which he constructions. In fact, one feels that memory of his lavishly inculcate greatness are both a satisfaction and a threat to him. For he, like John Updikes pose Angstrom (1960) testament never baffle the glory days of the past. He says as much to Laura But just look rough you and you will see wads of people disappointed as you are. For instance, I had hoped when I was passing to high school that I would be further along at this time, six years later, Downloaded from http//apa. agepub. com at CALIFORNIA DIGITAL LIBRARY on September 9, 2009 DECLARATIVE MEMORY 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 present, Jim runs from his into the future. Seeing in the crippled Laura some aspect of his own feared limitations, he tries to help her over scrape hers by rise and f inally a pet. His inability to help her in the end may be a harbinger of his own failures.MEMORY AND sacking Williams was aware also that declarative memory is anomalous in that it resurrects and keeps alive in the present what is dead and gone forever. Referring to this paradoxical aspect of memory, he wrote that when Wordsworth speaks of daffodils or Shelley of the amuse or Hart Crane of the diffused and inspiring structure of the Brooklyn Bridge, the screen imagism is not so opaque that one cannot venture behind it the ineluctable form of Ophelia (Leverich 1995, p. 536). The real presence of memory implies loss.Memory, if you will, is the exquisite bright corpse that both denies and acknowledges what has passed by. There is for al l of us that double vision that memory imparts, one that at once has the capacity to help and to hurt. Declarative memory provides coherence and direction to our lives, but also reminds us that our path inevitably tracks to disintegration and death. The daffodils recollected in tranquility are, at the alike time, Ophelias garland. Amanda Wingf ields recollection of her past social triumphs but reminds us of how much time has passed and how many hopes have been dashed.Lauras addition to the happy memories of childhood innocence equal by her grump menagerie only makes harsher the realities of her expectant life sentence and the bleakness of her future. Laura and Amanda are represented as having a choice between the infantile omnipotence of their past or a heart of victimization in the present. When Amanda stirs up old memories as a hedge against the painful present and indefinite future, they are only partially effective. For the contrast between past and present, and th e knowledge that what is past will never come again, lead only to further depression and concern (Schneiderman 1986).Similarly, behind Tom the protagonists memory of Laura at home lies, for Tom the author, the real Rose in a current assure of institutionalized 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 portion declarative memory can make to resilience by means of comfort af fects that are evoked in recalling a declarative memory of a sweet relationship with a parent or other important person (p. 459).Such memories can grow directly out of heartily relationships or they can be achieved with retrieving and modifying memory of more problematic attachments (p. 466). Davis illustrates his point with the example of Mr. Byrne, a subject in a longitudinal study of big(p) development. Davis focuses on the fact that in interviews at different time in adu lt life, Mr. Byrnes memories of his father changed. At age forty-six, surrounded by a corroborative community and family, Mr. Byrne had no memories of his alcoholic and tumble-down father and did not think his fathers beingness a f ireman had inf luenced his own decision to induce one.At sixty-six, retired and with his children grown, Mr. Byrne had succeeded in f inding his father inside as a sustaining inner object in declarative memory (p. 465). He did so through creating or retrieving 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 committed suicide, alone and away(p) from the family. But late in life, Mr. Byrne communicate frequently of his fathers having taken him to the f ire station when he was a youngster.He was now sure these happy times with his father had inf luenced his decision to become a f ireman himself. He set(p) his fathe rs death in a family setting and claimed to have been the one who found him. Davis points out that we often pass water the memories we need in order to obligate psychological resilience and mental health. whatever good experiences Mr. Byrne did have with a diff icult and broken-down 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, dynamic, 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 overturn (p. 299). In a way, Williams does the same thing by creating a memory play. Lonely, fineable 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 a t 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 small tender bit of illusion that relieves him of the austere formula 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. school term 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 aggressiveness and talkativeness made worse by utter and unending vulgarity. Instead, she is depicted as painfully shy, weak, and schizoid. And Cornelius, the real-life father he must face daily, is gone. Gone from the play for dramatic purposes t o 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 existence and, in this play of memory and desire, rid himself of the old man.Yet he is not in all gone, for the fathers picture hangs on the wall, like Hamlets ghost, reminding us of a sons ambivalent longing for a father. For in 1943 and end-to-end his life, Williams longed for some man to comfort and help him. In the play, his own wish for a supportive, loving father is transformed into the wish for the gentleman callersomeone who, dissimilar 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 purpose 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 quantify every shadow with Betty. He is f lirtatious with Laura, even going so far as to kiss her, showing a clear generosity and attraction to women other than his f iancee.Tennessees father, a bitter man from a prominent Southern family, a dim drinker and a womanizer, while banned from the play, haunts it through his portrait and is resurrected in the f lesh in Jim, who is likewise disappointing and cannot be counted on and who, in the future, may come to resemble 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 d isappointing those who loved him. The only one he was truly flexure to was Rose. Memories are like dreams or fantasies in that all the characters remembered at a point moment may represent aspects of the rememberers own ainity. Amandas steely will to break down is ref lected in Toms stubborn insistence on leaving. Lauras fragility 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 1266Through the very structure of his play and the physical billet 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 forth in time as Tom Wingf ield literally steps 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. All the plays characters slip in and out of memory, from present to past and back again, as they act with one another, forging their current individualism and present relationship in the incus of a past they selectively remember.The stage set that Williams proposed concretizes the alternating frontward and disinclined movement 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 play 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 emphasize the remoteness of memory. The f igures move backward and ship on stage, like memories themselves, coming into thought and then receding. Lighting is used in a similar way to emphasize through spotlighting the super 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 faulting 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 belongings with the air travel of memory, the stage is dim. Shafts of light are focus on selected areas or actors, sometimes in contradistinction to what is the apparent center. . . . A free and chimerical 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 abundant value in giving mobile, tractile quality to plays of more or less static nature (Williams 1945, p. 10). By fit an original musical score, Williams makes a reckon attempt to evoke memory in members of the audience 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 Paul Bowles to write a rising piece of music for his play, Williams, I think, is playing with the notion that mem ory is a new creation, similar to Bowless new music, Williams counts on the fact that while the score has never been heard before 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 experienced as a feeling state (Davis 2001).By using a new score sooner 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 World 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 psychological ly 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 earnest Rose. On the page and on the stage, the two are bound forever, like f igures on a Grecian urn. At the same time, the play is a justif ication for Tennessees departure from the family, a plea for reasonableness 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 set up 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 wri ting The Glass Menagerie, the infantile wish to reunite with Rose, to rid himself of a hateful father, and to overcome the threats of castration 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 tally may be joined at the hip or breastbone, Tennessee was joined to his sister, Rose, by the heart. . . In the memorial of love, there has seldom been such devotion as that which Tennessee showed his lobotomized sister (p. 51). Peter Altman, former director of Bostons Huntington Theater, points out how with th e 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 ostensibly reliant on the concrete details of his own history (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 roiled togetherness, he grants himself permission to leave St. Louis once again. Such a creation is uniform to Kriss description of the personal fiction (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 attitude 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 bear on 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, through 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 visual 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 excerpt (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 bowling alley behind his familys f lat in St. Louis, where cats were torn to pieces by dogs was one thingmy sisters washcloth curtains and tiny menagerie of glass were another. someplace between them was the world 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 lieu 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 needed memories are created amid the pain and unhappiness of the present. And in so doing, he reminds us all of the role memory plays i n 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 analyze 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 the hearts opposition could outperform 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 draw nearer to that long delayed but always expect something we live for (1945, p. 23). REFERENCES 1269 DAVIS, J. (2001). Gone but not forgotten Declarative and non-declarative memory processes and their contribution to resilience. Bulletin of the Downloaded from http//apa. sagepub. com at CALIFORNIA DIGITAL LIBRARY on September 9, 2009 Daniel Jacobs 1270 Menninger Clinic 65451470. FREUD, S. (1899). Screen memories. Standard Edition 3301322. (1908). Creative writers and day-dreaming.Standard Edition 9143153. K RIS , E. (1956a). The personal myth. In The Selected Papers of Ernst Kris. New oasis Yale University Press, 1975, pp. 272300. (1956b). The recovery of childhood memories in psychoanalysis. In The Selected Papers of Ernst Kris. New Haven Yale University Press, 1975, pp. 301340. LEVERICH, L. (1995). Tom The Unknown Tennessee Williams. New York Norton. NELSON, B. (1961). Tennessee Williams The serviceman and His Work. New York Obolensky. RASKY, H. (1986). Tennessee Willia ms A Portrait in Laughter and Lamentation. Niagara Falls Mosaic Press. SCHACTER, D. (1995).In research of Memory. 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 York New Directions, 1975, pp. 1117. 64 Williston channel Brookline, MA 02146 E-mail emailprotected com Downloaded from http//apa. sagepub. com at CALIFORNIA DIGITAL LIBRARY on September 9, 2009