I was sorry to hear that Bill hadn’t as yet found a producer for the revised version of Red Devil Battery Sign. I haven’t seen the revised version—I’d love to if you have an extra copy—but I liked the first one very much, and thought it was extremely powerful, and should play well. And I’m also eager, of course, to see the play that was put on in California, on which we had such good reports. Any chance of having a look at that one?
Now that spring has finally come to the northwest corner of Connecticut, and it’s very lovely here now, we don’t get down to the city as much as we did, but I hope I will have a chance to see you soon, and will try to give a call next time I get down to see if you are there and have a little free time.
Very best, as ever,
James Laughlin
« • »
the play that was put on in California: This Is (An Entertainment) premiered at the American Conservatory Theatre in San Francisco on January 20, 1976, for a limited run.
197. TLS—1
[June] 1976 [New York]
DEAR JAY:
Here, finally, is another batch of poems and a list that includes a few that aren’t in my hands right now.
Well, I deliver them to yours.
I haven’t yet thought of a title for this new collection. Maybe one will occur to you before it does to me.
I leave this afternoon for San Francisco with my bull-dog bitch, Madam Sophia, and a very gifted young photographer, Christopher Makos—had to leave poor Robert [Carroll] in Key West where he had submerged himself all but completely into the drug scene.
More anon. Must get on with packing.
As ever,
Tennessee
« • »
Christopher Makos: American photographer who apprenticed with Man Ray and collaborated with Andy Warhol.
198. TL—1
June 22, 1976 [Norfolk]
DEAR TENN—
Many thanks for your letter written just as you were leaving for San Francisco and the fine batch of poems, some new and some old, and all very good. I think we must nearly have enough now for a book. My next visit down to the New York office I’ll pick up the ones that are there and go over them all again.
For a title, what about “A Liturgy of Roses” or “The Speechless Summer” or “The Brain’s Dissection”? I think one of those would be good.
I found a copy of the first number of Antaeus so we have the text of “The Speechless Summer” all right. And I think there is a copy of “What’s Next on the Agenda, Mr. Williams?” at the office. If not, we’ll hunt for the Meditarraneo magazine. Do you recall where that was published or who edited it? I’ve never seen it.
[ . . . ]
A rather humid summer here in Connecticut, but we’ll be getting out to Ann’s family’s ranch in Wyoming about the middle of August and the air is wonderful there.
Very best, as ever,
[James Laughlin]
« • »
199. TLS—1
[received 10/4/76] [New York]
DEAR JAY:
Here is a re-written and expanded version of “Wolf’s Hour” which was published, I believe in ND 30. I feel that it may contain too many qualifying words—I mean like adjectives and adverbs. If it strikes you that way, too, would you mind scratching the most dispensable ones out and sending the original back to me for further repairs?
A curious little Gypsy band takes off tomorrow for slightly less than a week in New Orleans, its members being Maria, the Lady St. Just, one Shone Dunigan, the latest and by far the most efficient of three traveling companions I’ve had this bitch of a summer. Our primary objective is to remove Oliver Evans from a nightmare nursing-home in a wasteland outside New Orleans and establish him in one of my rental apartments. It seems that poor Oliver, who had quite despaired of continuing his existence when I saw him a month ago, has now rallied and is in a mood to go on with his life under improved conditions. Of course he will need an almost constant attendant to see he is fed and medicated: it will be a costly enterprise but fortunately he does have a pension of $800 a month from the University in California at which he taught literature and creative writing—assuming that the latter can be taught.
Ever,
10.
Tenn.
« • »
Shone Dunigan: Possibly Mickey Shone Dunigan (1942–1984).
200. TLS—1
[received 12/27/76] [London]
DEAR FRED [MARTIN]:
HOLD PRESSES ON THAT SCANDALOUS DUST-JACKET FOR POEMS. IT WOULD DISGRACE US ALL!
I know that I am not a good draughtsman but I don’t draw as badly as that. Head, feet, totally misshapen.
And that horrible accentuation of the genitalia with lurid rust color!
Is this the work of Miss Gertrude Huston? Dearly as I once loved her and admired her spirit, if she is responsible for this cover, I will then know that when she sent me a cover of 27 Wagons containing a compilation of recipes for a smorgasbord—freak accident she called it—it was with malicious intent.
I am returning to New York before Xmas. A proper jacket might involve my painting with no color at all on genitalia and no linear distortions. Failing that, why not just put the title in bold black print on a glossy white background? Please, Fred. There are living members of my family to be considered including myself!
Returning by Concorde mid-week and will call you at once about this freak accident #2. I have a very gifted painter-friend in New York who would immediately set the jacket right without a fee for it.
Yours sincerely,
Tenn.
« • »
containing a compilation of recipes: TW had previously received a reprint of 27 Wagons Full of Cotton in which pages from a recipe book had been bound. It was a mistake made at the bindery that Gertrude Huston could not have caused.
201. TLS—1
12/31/76 [Key West]
DEAR FRED:
The second phase of the poetry book cover is a distinct improvement but I still think a lot can be done. Only one blue eye is apparent to me and the hair color is barely apparent and the little toe on the left foot looks more like a big toe. Please set my anxieties at rest by getting a more finished version soon as you can. I have enough to worry about, here, with an old jazz-singer and her loutish swain on the premises.
Bill Barnes promised me on the phone yesterday he would visit your offices to have a look at the painting. I am not a good draughtsman but I’m not quite as bad as I seem in these preliminary designs—not when I have a live model as I did in this case.
I gave Bill a new poem, one I like, called “Snowfall” to return to you with the proofs. Hope it’s not too late to include it.
It was awfully kind of you and your wife to visit Rose. She is awfully withdrawn but I’m sure she appreciated the visit.
Fondest regards to you all,
10.
« • »
please set my anxieties at rest: Despite all of his reservations about the reproduction of his painting on the jacket, sometime after he had received finished copies of Androgyne, Mon Amour (published 4/28/77), TW would add a P.S. to an undated note to JL, “Charmed by your editions [cloth and paper] of Androgyne.”
“Snowfall”: The poem “Snowfall” was not included in Androgyne, Mon Amour but instead was published as a limited edition broadside in 1980.
202. TLS—1
Nov. 26, ’77 and 12/8/77 [Key West]
DEAR JAY AND FRED:
[ . . . ]
There are a couple of things I’d like to discuss with you. One, a collection of my one-acts for a new volume of the continuing series “Theatre of. ”* The other bringing out a selection of the better poems in Winter and Androgyne along with a few unprinted.
Perhaps we could also discuss bringing out a little book of my essays.
Have you seen Robert Brustein’s vitriolic review of my letters to Donald Windham? I’ve had to spend days composing a suitable reply, exposing the true circumstances (sho
cking) that surround the two publications. Harvey Shapiro, who edits the Book Review section of the Sunday Times, promised me on the phone that he would publish my reply to the piece but I have a feeling that he may not do it. I think the reply is good and honest and must be published even if I have to publish it myself in a pamphlet to be handled by a few selected book-stores like Gotham Book Mart at a price no higher than needed to recover the cost. I’d appreciate your advice: it has to be done quickly to be effective.
In about a week I’m flying to New Orleans. A young English director is arriving in the States. I revised Vieux Carré under his supervision in London: he was brilliant at cutting and re-arranging material. He says that he plans to do the play in London in the early Spring and that he wants to know New Orleans first.
Warmest regards,
Tennessee
<*Including several new ones.>
P.S. Would like to contribute a couple of these poems to Antaeus as I am still listed as a contributing editor and it’s been a long time since I made any contribution.
« • »
Robert Brustein’s vitriolic review: Brustein’s review of the letters for the New York Times included, among other unfavorable observations, “If revenge is a dish that tastes best cold, then Donald Windham has certainly fixed himself a satisfying frozen dinner.”
A young English director: Keith Hack.
203. TLS—1
August 13, 1978 [Wilbury Park, Wilshire, England]
DEAR JAY:
This distillation of your poetry has been a great joy to me and to Maria. You’ve never shown an adequate confidence in the unique quality and beauty of your work. Please recognize it and take deserved joy in it as I always have.
I have very little time as I must return with Maria from Wilbury Park to London to cope with an hysterical leading lady and an irate narcissan of a leading-man.
For once, perhaps for the first time, I cut a play [Vieux Carré] beyond expectations—the scene involving these two.
Sometimes I feel that I should confine the Theatre of Tennessee Williams to my studio in Key West, for there’s little time or strength left.
Very briefly and truly, I want to say this. You’re the greatest friend that I have had in my life, and the most trusted.
With love,
Tennessee
« • »
distillation of your poetry: The 1978 City Lights publication of JL’s In Another Country: Poems 1935–1975.
an hysterical leading lady and an irate narcissan of a leading-man: See following memo from Peggy Fox to JL of August 30, 1978.
204. TN—1
August 30, 1978 [New York]
To: JL
Re: London production of Vieux Carré
Since I was going to England on vacation I had arranged with Bill Barnes to take in the new London production of Vieux Carré. Else [Albrecht-Carrié, ND permissions editor and JL’s personal assistant at the time] thought I might be able to shed some light on the cryptic sections of TW’s letter [of August 13, 1978] as I got the latest gossip at the London ICM office.
The “hysterical leading lady” would be Sheila Gish in the part of Jane. Evidently after the opening night, TW decided to rewrite a scene, cutting out a page or so of dialogue and substituting about 20 new lines. Well, Miss Gish just refused to do it saying it would destroy her conception of the part and she would fluff her lines and look like an incompetent actress—and TW refused to let her go on unless she did learn the new lines. The upshot was that the understudy, Di Trevis, took over the part and was playing it when I saw the play—she was excellent. I assume that the “narcissan” is the young man playing Jane’s lover Tye [Jonathan Kent].
I thought the play, too, was excellent. From what Fred said about the New York production, I think the character of “The Writer” has been made more prominent and the “education” of the young, naïve writer becomes the focus of the play (the actor playing this role—Karl Johnson—was first-rate). The character of the landlady was not as overpowering as I understand it was in the NY production although it was certainly well played by Sylvia Miles. The set was a simple revolving one divided into the different rooms of the boarding house and was used very effectively—the play is episodic but the separate stories are all clearly related to the emotional and artistic growth (in some ways hardening) of the young writer. And the angel in the alcove was treated with ironic affection and didn’t seem to be overly sentimental. The play seems now to have a coherence that it lacked before, and, of course, the dialogue is vintage TW. I found it quite moving.
peg
[Peggy Fox]
205. ANS—1
[September 1978] [Norfolk]
PEGGY—
Many thanks for the run-down on the London production of Vieux Carré. I’m so glad TW got it in better shape and hope there will be another US production.
J
« • »
Many thanks: This is just one example of what the ND staff called “Norfolk confetti” referred to in the Introduction. JL responded to queries, memos, and copies of staff letters with short typed or handwritten notes on pieces of scrap paper and sent them to the New York office every few days. These notes ranged from substantive statements: “I don’t want to publish this book” to praise “Nice letter [to a particular author]” to requests for more stationery.
SECTION XVII
PF: How often did you see Tennessee in, say, the last ten years of his life?
JL: Well, not a great deal. Tennessee liked to go to the Century, and that was good for me because it meant that I could see him without any hangers-on around. He got a real kick out of the Century. He liked the old building; he liked the old boys, you know, sleeping in the library under their newspapers. It meant something to him. We’d go there very often.
PF: Sounds like a posh British club atmosphere.
JL: And talk about things. We talked a lot about what he was to do with his papers. I think if he had followed . . . I don’t know. I’ve actually talked Harvard to him—that it would be a good place for his papers to go—and then we talked a lot about fellowships, and that meant a lot to him. Of course, he loved his grandfather’s alma mater, The University of the South, and I think the way it ended up is that the papers are divided between Harvard and The University of the South. Then he would have liked his income, which continued to be very good . . .
PF: It still continues to be . . .
JL: And he would have liked that to go to into fellowships.
« • »
Century: The Century Association (more commonly called the Century Club) is a private club in New York with its headquarters on West 43rd Street, just off Fifth Avenue. It is noted for its literary, theater, and artistic members as well as “la crème de la crème” of professionals. At the time that JL would have taken TW there, it was a male-only bastion, but women were admitted to full membership in 1989.
206. TLS—1
April ’79 [New Orleans]
DEAR FRED:
The one time I’ve seen you since you so patiently helped me assemble that rather tired group of poems brought out in Androgyne, Mon Amour was the occasion on which Jay received the citation from PEN.
Lately I retrieved an astonishingly large collection of personal papers and Mss. from a safe in the “Railroad Museum” of my late gardener, Frank Fontis, shot mysteriously during the production of A Lovely Sunday for Creve Coeur.
Among the papers I found so many letters sent me from dear old 333 Sixth Ave.,* including some especially touching ones from Bob.
I hope they’ve come home to stay here in Key West.
I know it is my fault that we have so little communication and if there’s an excuse, it is just that I wear myself out working as long as I can each morning.
I’ve accumulated a number of poems and a couple of long prose-poems, perhaps enough to interest you in bringing out a pamphlet of them, and when I was last in New York I left a batch of early writings which I titled Pieces
of My Youth at Studio Duplicating to be typed for you. I may enclose a little more verse with this letter.
When is Vieux Carré coming out? I think Mitch Douglas said it was scheduled for this spring.
Best regards,
Tennessee
*What’s the new address?
« • »
citation from PEN: In early 1979, JL received a citation from PEN, the international literary organization that champions “the freedom to write and the universal power of literature” in recognition of his publishing that so clearly supported its aims.
Frank Fontis: Gardener and caretaker of TW’s Key West property. Fontis was murdered on January 5, 1979, the same night of a break-in and robbery at TW’s home. The murder was never solved, though dozens of original manuscripts stolen from TW were later found in the victim’s safe.
A Lovely Sunday for Creve Coeur: This play premiered in New York at the Hudson Guild Theatre on January 10, 1979, starring Shirley Knight and directed by Keith Hack. It was published by ND in 1980. The play uses the same basic plot as the screenplay All Gaul Is Divided (published in Stopped Rocking & Other Screenplays, ND, 1984, but written at least twenty years before Creve Coeur). In an “Author’s Note” accompanying the published screenplay, TW comments: “The most remarkable thing about the teleplay is that I had totally forgotten its existence when I wrote Creve Coeur in San Francisco about three years ago [ . . . ] The screenplay rectifies the major defect dilemma of the recent play: the giving away of the ‘plot’ in the very first scene.”
Pieces of My Youth: TW submitted a typescript of odds and ends to New Directions in 1979 entitled “Pieces of My Youth.” While not strong enough to stand on its own as a collection, the various “Pieces” were all eventually published in volumes such as the Collected Stories (1984), Collected Poems (2002), and various one-act collections. At least two of the pieces in this group, the one-act plays The Parade and Steps Must Be Gentle, were begun in TW’s youth but heavily revised in the 1970s.
The Luck of Friendship Page 34