Tennessee Williams Annual Review 2026
Edited by Annette J. Saddik
“[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.”
—from “Fin du Monde (A Postscript to the Casualty List),” by Tennessee Williams
In the months following the Japanese attack on Pearl Harbor, Tennessee Williams penned a poignant short story he titled “Fin du Monde”—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, “Fin du Monde” appears in print for the first time, as does a column Williams wrote about the Irish playwright Brendan Behan. An archival journey of discovery introduces readers to “The Lingering Hour,” one of Williams’s last and least-known plays. Essays explore piracy, Soviet criticism, Williams’s financial struggles as a young writer, recent stage productions, and new books.
Founded in 1998, the Tennessee Williams Annual Review remains the only journal devoted to Williams’s works, influence, and cultural context. Many issues showcase a previously unpublished work by Williams. Submission guidelines and back issues are available here.
Cover image: Paul Mescal and Patsy Ferran in A Streetcar Named Desire (Brooklyn Academy of Music, 2025; detail). Photo by Julieta Cervantes.
Details
- Published 2026 by HNOC
- softcover • 6" × 9" • 230 pp.
- 3 color images
- ISSN 1097-6035
- ISBN 978-0-917860-96-6
Contents
Editor’s Note
Annette J. Saddik
“Fin du Monde (A Postscript to the Casualty List)”: Tennessee Williams’s Bohemian Circle and World War II
Tom Mitchell
Previously Unpublished: “Fin du Monde (A Postscript to the Casualty List)
Tennessee Williams
Introduction to “Tennessee’s Column”: Williams on the Playwright Brendan Behan
Ellen F. Brown
Previously Unpublished: “Tennessee’s Column”
Tennessee Williams
Tennessee Williams in Soviet Criticism: A Cold War–Era Reversal of Fortune
Maxim M. Gudkov
An Introduction to “The Lingering Hour,” the Play Williams Declared Might Be His Last
David Kaplan
Pirate Imagery and Outlaw Masculinity in Tennessee Williams’s The Glass Menagerie
Emmeline Gros
Notes from the Field: “Clawing and Scratching”: Tennessee Williams’s Finances from 1939 through 1944
Robert L. Hampel
Production Review: A Streetcar Named Desire, directed by Rebecca Frecknall
Annette J. Saddik
Production Review: The Notebook of Trigorin, directed by Jim Niesen
Stephen Cedars
Production Review: Suddenly Last Summer, directed by Brenna Geffers
Bess Rowen
Film Review: In the Room Where He Waits, directed by Timothy Despina Marshall
Benjamin Gillespie
Book Review: Early Stories by Tennessee Williams, edited by Tom Mitchell
Michael S. D. Hooper
Book Review: The Metatheater of Tennessee Williams: Tracing the Artistic Process through Seven Plays, by Laura Michiels
James Armstrong
Book Review: Tennessee Williams’s America: Homes, Families, Exiles, by Ahmed Honeini
Jef Hall-Flavin
Book Review: Postmodernism in Arthur Miller’s Long-Late Period, by Ciarán Leinster
Susan C. W. Abbotson
Tennessee Williams Annual Review 2026
Edited by Annette J. Saddik
“[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.”
—from “Fin du Monde (A Postscript to the Casualty List),” by Tennessee Williams
In the months following the Japanese attack on Pearl Harbor, Tennessee Williams penned a poignant short story he titled “Fin du Monde”—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, “Fin du Monde” appears in print for the first time, as does a column Williams wrote about the Irish playwright Brendan Behan. An archival journey of discovery introduces readers to “The Lingering Hour,” one of Williams’s last and least-known plays. Essays explore piracy, Soviet criticism, Williams’s financial struggles as a young writer, recent stage productions, and new books.
Founded in 1998, the Tennessee Williams Annual Review remains the only journal devoted to Williams’s works, influence, and cultural context. Many issues showcase a previously unpublished work by Williams. Submission guidelines and back issues are available here.
Cover image: Paul Mescal and Patsy Ferran in A Streetcar Named Desire (Brooklyn Academy of Music, 2025; detail). Photo by Julieta Cervantes.
Details
- Published 2026 by HNOC
- softcover • 6" × 9" • 230 pp.
- 3 color images
- ISSN 1097-6035
- ISBN 978-0-917860-96-6
Contents
Editor’s Note
Annette J. Saddik
“Fin du Monde (A Postscript to the Casualty List)”: Tennessee Williams’s Bohemian Circle and World War II
Tom Mitchell
Previously Unpublished: “Fin du Monde (A Postscript to the Casualty List)
Tennessee Williams
Introduction to “Tennessee’s Column”: Williams on the Playwright Brendan Behan
Ellen F. Brown
Previously Unpublished: “Tennessee’s Column”
Tennessee Williams
Tennessee Williams in Soviet Criticism: A Cold War–Era Reversal of Fortune
Maxim M. Gudkov
An Introduction to “The Lingering Hour,” the Play Williams Declared Might Be His Last
David Kaplan
Pirate Imagery and Outlaw Masculinity in Tennessee Williams’s The Glass Menagerie
Emmeline Gros
Notes from the Field: “Clawing and Scratching”: Tennessee Williams’s Finances from 1939 through 1944
Robert L. Hampel
Production Review: A Streetcar Named Desire, directed by Rebecca Frecknall
Annette J. Saddik
Production Review: The Notebook of Trigorin, directed by Jim Niesen
Stephen Cedars
Production Review: Suddenly Last Summer, directed by Brenna Geffers
Bess Rowen
Film Review: In the Room Where He Waits, directed by Timothy Despina Marshall
Benjamin Gillespie
Book Review: Early Stories by Tennessee Williams, edited by Tom Mitchell
Michael S. D. Hooper
Book Review: The Metatheater of Tennessee Williams: Tracing the Artistic Process through Seven Plays, by Laura Michiels
James Armstrong
Book Review: Tennessee Williams’s America: Homes, Families, Exiles, by Ahmed Honeini
Jef Hall-Flavin
Book Review: Postmodernism in Arthur Miller’s Long-Late Period, by Ciarán Leinster
Susan C. W. Abbotson