PRE-ORDER the newest Tennessee Williams Annual Review
Copies will arrive in-store Friday March 27 and will ship out that weekend. Any books pre-ordered for pickup will be held for up to 1 month. After 1 month without pickup, your purchase will be refunded to you.
Tennessee Williams Annual Review 2026
Edited by Annette J. Saddik
Published by the Historic New Orleans Collection, 2026
softcover • 6" × 9" • 230 pp.
3 color images
ISSN 1097-6035
ISBN 978-0-917860-96-6
“[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 Many issues showcase a previously unpublished work by Williams.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.
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Previously Unpublished: “Fin du Monde (A Postscript to the Casualty List)”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Previously Unpublished: “Tennessee’s Column”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
PRE-ORDER the newest Tennessee Williams Annual Review
Copies will arrive in-store Friday March 27 and will ship out that weekend. Any books pre-ordered for pickup will be held for up to 1 month. After 1 month without pickup, your purchase will be refunded to you.
Tennessee Williams Annual Review 2026
Edited by Annette J. Saddik
Published by the Historic New Orleans Collection, 2026
softcover • 6" × 9" • 230 pp.
3 color images
ISSN 1097-6035
ISBN 978-0-917860-96-6
“[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.
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