Tom states that the events are based on a "working memory" thus suggesting that aspects of the story are exaggerated. Williams works to point out that the story will not follow the conventions of conventional theatre which is evident in the narrator addressing the audience directly. 3. Describe the contrast between Amanda's perception of the night Jim comes to visit, and Laura's perception of the same evening. What does this

Menagerie REVISED Prince, don't ask me in a week / or in a year what place they are; I can only give you this refrain: / Where are the snows of yesteryear? Francois Villon, c. 1461 "Where are the snows of yesteryear?" asks Tennessee Williams in the opening screen of The Glass Menagerie (401), quoting a poem by Francis Villon. Williams explains in the production notes to this famous play that he has left

Laura is mortified by Amanda's attempt to make her seem sexual and attractive because she is so shy. She had a crush on Jim when she was in high school but is convinced that no man can love her because of her physical disability. Laura, unlike Amanda, is not focused on the future and what she will do to make a living. When Jim tells her that he is

Amanda is a former southern belle, who enjoyed a very comfortable and somewhat decadent upbringing. After her husband leaves, and she struggles to raise and financially support her children alone, her social life suffers, making her frustrated and lonely just like her highly introverted daughter. This is perhaps why she is so focused upon finding a suitor (and eventually husband) for Laura. She does not want her daughter to

Amanda Wingfield and Linda Loman Comparing and Contrasting Mothers in Tennessee Williams's the Glass Menagerie and Arthur Miller's Death of a Salesman Two plays from the 1940's, Tennessee William's The Glass Menagerie (1944) and Arthur Miller's Death of a Salesman (1949), although much different in tone and content, both have female characters who want only the best for their families, yet live completely in the past. Amanda recalls her youth filled with

Eugene O'Neill's play, "The Emperor Jones (1921)," is the horrifying story of Rufus Jones, the monarch of a West Indian island, presented in a single act of eight scenes of violence and disturbing images. O'Neill's sense of tragedy comes out undiluted in this surreal and nightmarish study of Jones' character in a mighty struggle and tension between black Christianity and black paganism (IMBD). Jones is an unforgettable character in his