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Saddik\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-family: 'Times New Roman',serif; color: #215e99; mso-themecolor: text2; mso-themetint: 191;\"\u003e \u003c\/span\u003e\u003ci\u003e“[T]here’s going to be a brand-new breed of artists, bred in the open, on the fields of battle, a kind that will have cut their teeth on bullets.”\u003c\/i\u003e\u003cbr\u003e       —from “\u003ci\u003eFin du Monde \u003c\/i\u003e(A Postscript to the Casualty List),” by Tennessee Williams\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eIn the months following the Japanese attack on Pearl Harbor, Tennessee Williams penned a poignant short story he titled “\u003ci\u003eFin du Monde\u003c\/i\u003e”—the end of the world—in which a gay couple muses on World War II’s impending effects on their lives. Inside the 2026 issue, “\u003ci\u003eFin du Monde\u003c\/i\u003e” appears in print for the first time, as does a column Williams wrote about the Irish playwright Brendan Behan. 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Photo by Julieta Cervantes.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e Details\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli class=\"MsoNormal\"\u003ePublished 2026 by HNOC\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003esoftcover • 6\" × 9\" • 230 pp.\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003e3 color images\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003eISSN 1097-6035\u003c\/li\u003e\n\u003cli class=\"MsoNormal\"\u003eISBN 978-0-917860-96-6\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003eContents\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNoSpacing\"\u003eEditor’s Note\u003cbr\u003eAnnette J. Saddik\u003c\/p\u003e\n\u003cp class=\"MsoNoSpacing\"\u003e“\u003ci\u003eFin du Monde\u003c\/i\u003e (A Postscript to the Casualty List)”: Tennessee Williams’s Bohemian Circle and World War II\u003cbr\u003eTom Mitchell\u003c\/p\u003e\n\u003cp class=\"MsoNoSpacing\"\u003ePreviously Unpublished: “\u003ci\u003eFin du Monde\u003c\/i\u003e (A Postscript to the Casualty List)\u003cbr\u003eTennessee Williams\u003c\/p\u003e\n\u003cp class=\"MsoNoSpacing\"\u003eIntroduction to \u003cmeta charset=\"utf-8\"\u003e“Tennessee’s Column\u003cmeta charset=\"utf-8\"\u003e”: Williams on the Playwright Brendan Behan\u003cbr\u003eEllen F. Brown\u003c\/p\u003e\n\u003cp class=\"MsoNoSpacing\"\u003ePreviously Unpublished: “Tennessee’s Column”\u003cbr\u003eTennessee Williams\u003c\/p\u003e\n\u003cp class=\"MsoNoSpacing\"\u003eTennessee Williams in Soviet Criticism: A Cold War–Era Reversal of Fortune\u003cbr\u003eMaxim M. Gudkov\u003c\/p\u003e\n\u003cp class=\"MsoNoSpacing\"\u003eAn Introduction to \u003cmeta charset=\"utf-8\"\u003e“The Lingering Hour,\u003cmeta charset=\"utf-8\"\u003e” the Play Williams Declared Might Be His Last\u003cbr\u003eDavid Kaplan\u003c\/p\u003e\n\u003cp class=\"MsoNoSpacing\"\u003ePirate Imagery and Outlaw Masculinity in Tennessee Williams’s \u003ci\u003eThe Glass Menagerie\u003cbr\u003e\u003c\/i\u003eEmmeline Gros\u003c\/p\u003e\n\u003cp class=\"MsoNoSpacing\"\u003eNotes from the Field: “Clawing and Scratching\u003cmeta charset=\"utf-8\"\u003e”: Tennessee Williams’s Finances from 1939 through 1944\u003cbr\u003eRobert L. Hampel\u003c\/p\u003e\n\u003cp class=\"MsoNoSpacing\"\u003eProduction Review: \u003ci\u003eA Streetcar Named Desire\u003c\/i\u003e, directed by Rebecca Frecknall\u003cbr\u003eAnnette J. 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