The Glass Menagerie (Critical Article #1)

Journal of the Ameri keep psychoanalytical Association http//apa. sagepub. com Tennessee Williams The Uses of Declarative retention in the proclivity-wash Menagerie Daniel Jacobs J Am Psychoanal Assoc 2001 50 1259 at bottom 10. 1177/00030651020500040901 The online version of this article jakes be found at http//apa. sagepub. com/cgi/ cognitive content/abstract/50/4/1259 Published by http//www. sagepublications. com On behalf of Ameri whoremaster Psychoanalytic Association Additional services and in stratumation for Journal of the Ameri weed Psychoanalytic Association can be found at telecommunicate 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 ingestloaded from http//apa. sagepub. com at atomic number 20 digital subr extinctine library on September 9, 20 09 jap a Daniel Jacobs 50/4 TENNESSEE WILLIAMS THE USES OF indicative MEMORY IN THE glaze MENAGERIE Tennessee Williams c every(prenominal)ed his first great work, The spy frappe Menagerie, his computer storage dally. The situation in which Williams found himself when he began write the romance is explored, as atomic number 18 the ways in which he used the indicative w atomic number 18housing of his protagonist, Tom Wingfield, to express and muddle with his own carkful conflicts. Williamss use of stage directions, weight slightnessing, and music to nurture fund and render it cubic is described. Through a close study of The Glass Menagerie, the galore(postnominal) uses of w atomic number 18housing for the purposes of wish fulfillment, conflict resolution, and resiliency are examined. T he put St. Louis, Missouri.The year 1943. Thomas Lanier Williams, age thirty- ii, known as Tennessee, has returned to his parents home. He has had a few minor successes. Several of his shorter plays sop up been produced by the Mummers in St. Louis. For a nonher, arranged by the Webster Grove plain Guild, he was awarded an engraved silver streak p tardily. He has retained Audrey Wood as his literary agent and with her friend had several eld earlier won a Rockefeller fellowship to substitute his writing. But Williamss Fallen Angels bombed in Boston the previous summer.Its sponsor, the Theater Guild, decided non to bring the play to naked as a jaybird York. Since obtaining a B. A. from the University of Iowa in l938, Williams has been broke more than a parcel than non. He has no home of his own. Hes led an itinerant existence, living in brisk Orleans, New York, Provincetown, and Mexico, as well as Macon, Georgia, and Training and Supervising Analyst, Boston Psychoanalytic Society and Institute faculty, Massachusetts Institute for Psychoanalysis Assistant clinical Professor of Psychia extend, Harvard Medical School.Submitted for publication October 1 2, 2001. Downloaded from http//apa. sagepub. com at CALIFORNIA digital depository library on September 9, 2009 Daniel Jacobs 1260 Culver City, California. He has subsisted on menial jobswaiting tables, run an elevator, ushering at movie theaterstasks for which he is not f itted and from which he is often f ired. His vision in whiz eye is compromised by a cataract that has already necessitated surgery. And just before moving back home from New York, he was beaten up by sailors he took to the Claridge Hotel for a internal liaison.Arriving home in 1943, Tennessee f inds many things unchanged his parents, Cornelius and Edwina, remain deplorably married and their crookter quarrels f ill the house. Williams must again deal with the generate he despises. Tennessee is pres authenticd by Cornelius, who opposed his return home, to f ind a job. If Tennessee pull up stakes not return to work at the International horseshoe Company, as Cornelius advises, then he must earn his keep by per forming endless domestic chores. But it is the changes in the family that are nvirtuosotheless more troubling. Williamss younger brother Dacon is in the army and whitethorn be sent into combat after basic training.His maternal grandparents ache moved in because Grandma Rose, now conf ined to an upstairs bedroom, is mutely dying. more or less important of all, Tennessees belove sister, also named Rose and two years older than he, is no longer at home. She has in fact been at the State Asylum in Farmington since l937. Diagnosed schizophrenic, she has recently underg wiz a bi subsequental anterior lobotomy to control her hard-hitting behavior and e very(prenominal)placetly sexual preoccupations. During this tolerate at home, Williams visits Rose for the f irst time since her surgery.He f inds her behavior more lady a alike, except she remains clearly psych bingleurotic. The lobotomy, Williams realizes, was a tragically mistaken procedure that deprived her of any possibility of returning to normal action (Williams 1972, p. 251). The worthless children, he ordain write of his St. Louis childhood, used to run all all over town, precisely my sister and I played in our own back yard. . . . We were so close to a fix other, we had no motivation of others (Nelson 1961. p. 4). Now, for Tennessee, Rose is irretrievably lost(p) except as a entrepot, alternately disavowed in pain and shut out in self-defense.Williams cannot abide his situation, thrown amid his parents bitter quarrels, the slow decease of his grandmother, and the terrible absence of his sister. His only escape the hours of writing he does every day in the basement of the family home. Here, between washing store windows and repairing the gutters on the back porch, he writes the remembering play that he f irst calls The Gentlemen Caller and then Downloaded from http//apa. sagepub. com at CALIFORNIA DIGITAL subroutine library on September 9, 2009 DECLARATIVE MEMORY IN THE GLASS MENAGERIE The Glass Menagerie.The play is a brilliant, profound, and intricate study of significative mood stock and its psychological uses. DECLARATIVE MEMORY Declarative retrospect is the system that provides the basis for intended retrospection of facts and blushts. But this system, we know, is not just a warehouse of information, of real(a) memories of actual happenings that can be retrieved at will. Rather, like an autobiographic play, declarative memory is a fanciful construction forged from past events and from the fears, wishes, and conf licts of the angiotensin-converting enzyme who is remembering.As Schacter (1995) notes, The way you remember depends on the purposes and goals at the time you attempt to recall it. You help paint the picture during the act of recalling (p. 23). It was just this complex and imaginative tantrum of memory formation that led Freud (l899) to write that our childhood memories showing us our earliest years but as they appeared in later periods when memory was aroused (p. 322). The stories we tell of our resides are as much closely meanings as they are most facts. In the subjective and selective notice of the past, our histories are not just recalled, but reconstructed.History is not recounted, but remade. Williams mute this when he wrote, in the stage directions of The Glass Menagerie, that memory takes a lot of license, it omits almost details, others are exaggerated to the emotional value of the article it touches, for memory is seated predominantly in the heart (p. 21). Williams has Tom Wingf ield, the plays protagonist, tell us this. In his opening speech, Tom is some(prenominal)(prenominal) creative artist and unreliable rememberer I encounter tricks in my pockets. I open things up my sleeve. . . . I give you truth in the pleasant pretension of illusion (p. 2). In this way, Williams warns us from the plays beginning that memory is a tricky businessf ickle, changeable, susceptible to distortion and embelli shment, but always true to the current emotional needs of the rememberer. This paper is an geographic expedition of the emotional needs of the remembererof Tom Wingfield, the rememberer in the play, and Tom Williams, the rememberer as writer. Williams could dedicate chosen any f irst name for his protagonist. He chose his own to emphasise 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 subroutine library on September 9, 2009 1261 Daniel Jacobs 1262 an figure out f iction based on facts. And that f iction (the creative use of memory) is at its heart emotional autobiography. Both Tom Wingf ield and Tom Williams carry a burden of guilt for leaving the family, especially a disabled sister, and have a need to justify their behavior through with(predicate) the use of recollection.Both Toms live with deep sorrow alon gside a wish to retaliate against love ones who have disappointed them. Remembering is for both(prenominal) Toms, as for all of us, a coat of many colors, worn to set us apart from others as well as link us to them, to justify our choices, to take strike back on others, to compete with them, to kill them once again, or to resurrect 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 harshness of her current situation by evoking memories of a lordly past. She is like a patient Kris (l956b) describes who while the tensions of the wassail were laborious . . . 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 invariably contrasting the memories of a talented youth with the unhappiness of her man and wife and the desolation of her childrens lives, her anger and competitiveness take a poisonous form. Unlike Amanda, her daughter Laura, who is crippled, has relatively few memories.But the memory of Jim, the gentleman caller, provides her a modicum of comfort. In a pale and pathetic imitation of her mothers recollections of a house f illed with jonquils, she recalls that Jim gives her a single bouquet of sorts, the family name blue roses. It is a nickname derived from his psychologically intuitive misunderstanding of the unwellness pleurosis, which had kept Laura out of school. She cannot compete with her mother in the fond memory department and retreats to the concrete but fragile satisfactions of her scum menagerie, where memory and imaging 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 looks. In fact, one feels that memory of his high school greatness are both a sat isfaction and a threat to him. For he, like John Updikes Harry Angstrom (1960) will neer experience the glory age of the past. He says as much to Laura But just look some you and you will see lots of people disappointed as you are. For instance, I had hoped when I was going to high school that I would be elevate 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 overcome hers through encouragement and f inally a kiss. His inability to help her in the end may be a harbinger of his own failures.MEMORY AND LOSS Williams was aware also that declarative memory is paradoxical in tha t it resurrects and keeps alive in the present what is doomed and gone forever. Referring to this paradoxical aspect of memory, he wrote that when Wordsworth speaks of daffodils or Shelley of the skylark or Hart Crane of the delicate and inspiring structure of the Brooklyn Bridge, the screen imagism is not so opaque that one cannot surmise bed it the ineluctable form of Ophelia (Leverich 1995, p. 536). The very presence of memory implies loss.Memory, if you will, is the exquisite lifelike corpse that both denies and accognitions what has passed away. There is for all of us that double vision that memory imparts, one that at once has the capacity to help and to hurt. Declarative memory provides cohesiveness and direction to our lives, but also reminds us that our path inevitably leads to mutiny and death. The daffodils recollected in tranquility are, at the same time, Ophelias garland. Amanda Wingf ields recollection of her past social triumphs only reminds us of how much time ha s passed and how many hopes have been dashed.Lauras attachment to the happy memories of childhood innocence stand for by her glass menagerie only makes harsher the realities of her vainglorious life and the bleakness of her future. Laura and Amanda are represented as having a choice between the immature omnipotence of their past or a feeling of victimization in the present. When Amanda stirs up old memories as a hedge against the painful present and suspicious future, they are only partially effective. For the contrast between past and present, and the knowledge that what is past will never come again, lead only to further depression and anxiety (Schneiderman 1986).Similarly, behind Tom the protagonists memory of Laura at home lies, for Tom the author, the real Rose in a current articulate 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 contribution declarative memory can make to resilience through soothing af fects that are evoked in recalling a declarative memory of a winning relationship with a parent or other important someone (p. 459).Such memories can grow directly out of warm relationships or they can be achieved through retrieving and modifying memory of more problematic attachments (p. 466). Davis illustrates his point with the simulation of Mr. Byrne, a subject in a longitudinal study of adult development. Davis focuses on the fact that in interviews at different times in adult life, Mr. Byrnes memories of his father changed. At age forty-six, surrounded by a supportive community and family, Mr. Byrne had no memories of his alcoholic and neglectful father and did not think his fathers being a f ireman had inf luenced his own decision to become 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 memo ry (p. 465). He did so through creating or retrieving warm memories of their times unitedly in the f irehouse and by misremembering the humiliating events of his fathers death so as to have a more positive scope of him. Mr. Byrnes father had committed suicide, alone and away from the family. But late in life, Mr. Byrne spoke 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 placed his fathers death in a family scenery and claimed to have been the one who found him. Davis points out that we often create the memories we need in order to detect psychological resilience and mental health. whatsoever good experiences Mr. Byrne did have with a diff icult and neglectful 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 des cribing 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 impose (p. 299). In a way, Williams does the same thing by creating a memory play. Lonely, guilty 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 at CALIFORNIA DIGITAL LIBRARY on September 9, 2009 DECLARATIVE MEMORY IN THE GLASS MENAGERIE pathetic 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 apologises him of the austere pattern 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 a bout, but in creatively altered memory. Sitting 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 complainta state of aggressiveness and talkativeness made worse by utter and unending vulgarity. Instead, she is portrayed 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 to be sure the play would lose a certain edge were there some other breadwinner in the house. But in the play, Williams expresses his wish to reconstruct reality and, in this play of memory and desire, rid himself of the old man.Yet he is not simply 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 throughout 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, unlike his father, will help Laura, replete 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 role 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 undoable dreams for the future. Jim already hints that the realities of life may not meet his expectations. He expresses indignation at having to work at two jobs his work and his marriage, in which he has to punch the clock every night with Betty. He is f lirtatious with Laura, even going so far as to kiss her, showing a clear sympathy and attraction to women other than his f iancee.Tennessees father, a bitter man from a prominent Southern family, a strong 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 disappointing those who loved him. The only one he was truly close-fitting to was Rose. Memories are like dreams or fantasies in that all the characters remembered at a special(a) mo may represent aspects of the rememberers own personality. Amandas steely will to survive is ref lected in Toms stubborn wardrobe 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 yield. THE STAGING OF MEMORY 1266Through the very structure of his play and the physical placement 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 interact with one another, forging their current identity and present relationship in the anvil of a past they selectively remember.The stage set that Williams proposed concretizes the alternating forrard and retrograde 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 played outside the apartment. The scene that follows is from the past, set in a dining room at the b ack of the stage, as if to under stigma the remoteness of memory. The f igures move backward and forward on stage, like memories themselves, coming into consciousness and then receding. Lighting is used in a similar way to emphasize through spotlighting the highly selective and highly cathected aspects of memory.Lightness and darkness, dimness and clarity, play an important role in the ambience of the play, heighten the shifting play of memory. Williams is specif ic about the use of lighting in his overlapion notes for The Glass Menagerie The lighting in the play is not realistic. In keeping with the atmosphere of memory, the stage is dim. Shafts of light are rivet on selected areas or actors, sometimes in contradistinction to what is the apparent center. . . . A clean-handed and imaginative 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 enormous value in giving mobile, t ractile quality to plays of more or less static nature (Williams 1945, p. 10). By commissioning an original musical score, Williams makes a deliberate attempt to evoke memory in members of the audience memories of their own youthful stirrings, with all the fears and pleasures that calculate 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 parvenu piece of music for his play, Williams, I think, is playing with the notion that memory 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 beaten(prenominal) 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 intentional to evoke nondeclarative memory experienced as a feeling state (Davis 2001).By using a new score rather than relying on familiar tunes, Williams insists that memory is an invention of the present rather than a reproduction of the past. closure 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 psychologically 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 near Rose. On the page and on the stage, the two are bound forever , like f igures on a classic urn. At the same time, the play is a justif ication for Tennessees departure from the family, a plea for understanding as to why he must see the altered Rose (his castrated self) behind and pursue his own path.Freud (1908) pointed out how both in creative writing and fantasy past, present, and future are strung 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 surgical operation of writing 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 get together at the hip or breastbone, Tennessee was joined to his sister, Rose, by the heart. . . In the history of love, there has seldom been such awe as that which Tennessee showed his lobotomized sister (p. 51). Peter Altman, former director of Bostons Huntington Theater, points out how with the 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 obviously 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 o wn glass menagerie, where the characters are f ixed and can live forever in troubled togetherness, he grants himself permission to leave St. Louis once again. Such a creation is akin to Kriss description of the personal legend (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 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 maintain 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 fracture 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, moreover 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 excerption (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 alley behind his familys f lat in St. Louis, where cats were torn to pieces by dogs was one thingmy sisters white curtains and tiny menagerie of glass were another. Somewhere between them was the world we liv ed 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 outer post between the bitter realities of family life and his impulse to f lee and entrust 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 sorrow of the present. And in so doing, he reminds us all of the role memory plays in 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 essay The cataclysm of Success (1975), that the monosyllable of the clock is Loss, loss, loss, unless you devote your heart to its opp osition (p. 17). Tennessee matte that for him the hearts opposition could best 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 concur 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 expected something we live for (1945, p. 23). REFERENCES 1269 DAVIS, J. (2001). 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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 m ishap of success. In The Glass Menagerie. New York New Directions, 1975, pp. 1117. 64 Williston route Brookline, MA 02146 E-mail email&160protected com Downloaded from http//apa. sagepub. com at CALIFORNIA DIGITAL LIBRARY on September 9, 2009