Facts About Me

 

I was born in the Episcopal rectory of Columbus, Miss., an old town on the Tombigbee River which was so dignified and reserved that there was a saying, only slightly exaggerated, that you had to live there a whole year before a neighbor would smile at you on the street. As my grandfather, with whom we lived, was the Episcopal clergyman, we were accepted without probation. My father, a man with the formidable name of Cornelius Coffin Williams, was a man of ancestry that on one side, the Williams, from pioneer Tennessee stock and on the other from early settlers of Nantucket Island in New England. My mother was descended from Quakers. Roughly there was a combination of Puritan and Cavalier strains in my blood which may be accountable for the conflicting impulses I often represent in the people I write about.
I was christened Thomas Lanier Williams. It is a nice enough name, perhaps a little too nice. It sounds like it might belong to the son of a writer who turns out sonnet sequences to Spring. As a matter of fact, my first literary award was $25.00 from a Woman’s Club for doing exactly that, three sonnets dedicated to Spring. I hasten to add that I was still pretty young. Under that name I published a good deal of lyric poetry which was a bad imitation of Edna Millay. When I grew up I realized this poetry wasn’t much good and I felt the name had been compromised so I changed it to Tennessee Williams, the justification being mainly that the Williamses had fought the Indians for Tennessee and I had already discovered that the life of a young writer was going to be something similar to the defense of a stockade against a band of savages.
When I was about twelve, my father, a traveling salesman, was appointed to an office position in St. Louis and so we left the rectory and moved north. It was a tragic move. Neither my sister [Rose] now I could adjust ourselves to life in a Midwestern city. The schoolchildren made fun of our Southern speech and manners. I remember gangs of kids following me home yelling “Sissy!” and home was not a very pleasant refuge. It was a perpetually dim little apartment in a wilderness of identical brick and concrete structures with no grass and no trees nearer than the park. In the South we had never been conscious of the fact that we were economically less fortunate than others. We lived as well as anyone else. But in St. Louis we suddenly discovered there were two kinds of people, rich and poor, and that we belonged more to the latter. If we walked far enough west we came into a region of fine residences set in beautiful lawns. But where we lived, to which we must always return, were ugly rows of apartment buildings the color of dried blood and mustard. If I had been born to this situation I might not have resented it deeply. But it was forced upon my consciousness at the most sensitive age of childhood. It produced a shock and a rebellion that has grown into an inherent part of my work. It was the beginning of the social consciousness which I think has marked most of my writing. I am glad that I received this bitter education for I don’t think any writer has much purpose back of him unless he feels bitterly the inequities of the society he lives in. I have no acquaintance with political and social dialectics. If you ask what my politics are, I am a Humanitarian.
That is the social background of my life!
I entered college during the great American depression and after a couple of years I couldn’t afford to continue but had to drop out and take a clerical job in the shoe company that employed my father. The two years I spent in that corporation  were indescribable torment to me as an individual but of immense value to me as a writer for they gave me firsthand knowledge of what it means to be a small wage earner in a hopelessly routine job. I had been writing since childhood and I continued writing while I was employed by the shoe company. When I came home from work I would tank up on black coffee so I could remain awake most of the night, writing short stories which I could not sell. Gradually my health broke down. One day, coming home from work, I collapsed and was removed to the hospital. The doctor said I couldn’t go back to the shoe company. Soon as that was settled I recovered and went back South to live with my grandparents in Memphis where they had moved since my grandfather’s retirement from the ministry. Then I began to have a little success with my writing. I became self-sufficient. I put myself through two more years of college and got a B.A. degree at the University of Iowa in 1938. Before then and for a couple of years afterwards I did a good deal of traveling around and I held a great number of part-time jobs of great diversity. It is hard to put the story in correct chronology for the last ten years of my life are a dizzy kaleidoscope. I don’t quite believe all that has happened to me, it seems it must have happened to five or ten other people.
My first real recognition came in 1940 when I received a Rockefeller fellowship and wrote Battle of Angels which was produced by the Theatre Guild at the end of that year with Miriam Hopkins in the leading role. It closed in Boston during the tryout run but I have rewritten it a couple of times since then and still have faith in it. My heath was so impaired that I landed in 4F after a medical examination of about five minutes’ duration. My jobs in this period included running an all-night elevator in a big apartment-hotel, waiting on tables and reciting verse in the Village, working as a teletype operator for the U. S. Engineers in Jacksonville, Florida, waiter and cashier for a small restaurant in New Orleans, ushering at the Strand Theatre on Broadway. All the while I kept on writing, writing, not with any hope of making a living at it but because I found no other means of expressing things that seemed to demand expression. There was never a moment when I did not find life to be immeasurably exciting to experience and to witness, however difficult it was to sustain.
From a $17.00 a week job as a movie usher I was suddenly shipped off to Hollywood where MGM paid me $250.00 a week. I saved enough money out of my six months there to keep me while I wrote The Glass Menagerie. I don’t think the story from that point on, requires any detailed consideration.

This essay originally appeared on the jacket of the record album Tennessee Williams Reading from His Works (Caedmon Records, 1952).