William’s tragic life created the framework for The Glass Menagerie. Aside from the obvious similarity of Tennessee’s name being Tom, he also felt responsible for his disabled sister, Rose, who was eventually institutionalized. His mother arranged a lobotomy in an attempt to cure her; however, Rose spent the remainder of her life in the mental institution (Shute). Laura represents William’s sister, Rose, with her nickname being blue Roses and her physical and mental disabilities. The blue roses are an allusion to their frail nature and inevitable death (Cardullo). Williams’ acknowledgment of human’s imminent ending hints at a line in “The Timeless World of the Play,” his critical essay: “we are all haunted by a truly awful sense of impermanence” (275). Humanity’s fear of death and insignificance is the root of human’s tendency to allow the past to intrude on the present and future, and to, either intentionally or subconsciously, escape reality.
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...ussion with ART Dramaturge." Reserve Room. Mugar Library, Boston University, Boston. 7 Feb. 2013. Speech.
O'Casey, Sean. "Green Goddess of Realism." 1956. An Anthology. Ed. David Krasner. Oxford: Blackwell Publishing, 2008. 293-97. Print.
Shute, Sarah. "The Glass Menagerie." KnowledgeNotes™ Student Guides. ProQuest Information and Learning, 2002. Web. 13 Feb. 2013.
The Glass Menagerie. By Tennessee Williams. Dir. John Tiffany. American Repertory Theatre, Cambridge. 9 February 2013. Performance.
Williams, Tennessee. The Glass Menagerie. New York: New Classics, 1949.
Williams, Tennessee. "The Timeless World of the Play." 1951. An Anthology. Ed. David Krasner. Oxford: Blackwell Publishing, 2008. 274-77. Print.
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