Editing Tennessee Williams (section)

==Career==
As Williams was struggling to gain production and an audience for his work in the late 1930s, he worked at a string of menial jobs that included a stint as caretaker on a chicken ranch in [[Laguna Beach, California|Laguna Beach]], California. In 1939, with the help of his agent [[Audrey Wood (literary agent)|Audrey Wood]], Williams was awarded a $1,000 grant from the [[Rockefeller Foundation]] in recognition of his play ''[[Battle of Angels]].'' It was produced in [[Boston]], Massachusetts in 1940 and was poorly received.<ref>{{cite book|url=https://archive.org/details/portraitofartist0000hirs/page/18/mode/2up|page=18|title=A Portrait of the Artist: The Plays of Tennessee Williams|year=1979|last=Hirsch|first= Foster|publisher=Kennikat Press}}</ref>

Using some of the Rockefeller funds, Williams moved to New Orleans in 1939 to write for the [[Works Progress Administration]] (WPA), a federally funded program of the [[New Deal]] era.  Williams lived for a time in New Orleans' [[French Quarter]], including 722 Toulouse Street, the setting of his 1977 play ''[[Vieux Carré (play)|Vieux Carré]]''. The building is now part of [[The Historic New Orleans Collection]].<ref>{{cite web| title=Tennessee Williams Pathfinder| url=https://www.hnoc.org/research/tennessee-williams-pathfinder| publisher=[[The Historic New Orleans Collection]]| access-date=September 13, 2017| archive-url=https://web.archive.org/web/20170913140217/https://www.hnoc.org/research/tennessee-williams-pathfinder| archive-date=September 13, 2017| url-status=dead| df=mdy-all}}</ref> The Rockefeller grant brought him to the attention of the Hollywood film industry and Williams received a six-month contract as a writer from the [[Metro-Goldwyn-Mayer]] film studio, earning $250 weekly.

During the winter of 1944–45, his [[memory play]] ''The Glass Menagerie,'' developed from his 1943 short story "Portrait of a Girl in Glass", was produced in Chicago and garnered good reviews. It moved to New York where it became an instant hit and enjoyed a long Broadway run. [[Elia Kazan]] (who directed many of Williams's greatest successes) said of Williams: "Everything in his life is in his plays, and everything in his plays is in his life."<ref>{{cite book| last=Spoto| first=Donald| title=The Kindness of Strangers: The Life of Tennessee Williams| url=https://archive.org/details/kindnessofstrang00spot_0| url-access=registration| quote=| location=Cambridge, Massachusetts| publisher=Da Capo Press| date=August 22, 1997| page=[https://archive.org/details/kindnessofstrang00spot_0/page/171 171]| isbn=978-0306808050}}</ref> ''The Glass Menagerie'' won the award for the best play of the season, the New York Drama Critics' Circle Award.

The huge success of his next play, ''[[A Streetcar Named Desire]]'', cemented his reputation as a great playwright in 1947. During the late 1940s and 1950s, Williams began to travel widely with his partner Frank Merlo (1922 – September 21, 1963), often spending summers in Europe. He moved often to stimulate his writing, living in New York, New Orleans, [[Key West]], Rome, [[Barcelona]], and London. Williams wrote, "Only some radical change can divert the downward course of my spirit, some startling new place or people to arrest the drift, the drag."{{sfn|Williams|2007|page=xv}}

Between 1948 and 1959 Williams had seven of his plays produced on Broadway: ''[[Summer and Smoke]]'' (1948), ''[[The Rose Tattoo]]'' (1951), ''[[Camino Real (play)|Camino Real]]'' (1953), ''Cat on a Hot Tin Roof'' (1955),  ''[[Orpheus Descending]]'' (1957), ''[[Garden District (play)|Garden District]]'' (1958), and ''[[Sweet Bird of Youth]]'' (1959). By 1959, he had earned two [[Pulitzer Prize for Drama|Pulitzer Prize]]s, three [[New York Drama Critics' Circle]] Awards, three [[Donaldson Award]]s, and a [[Tony Award]].

Williams's work reached wider audiences in the early 1950s when ''[[The Glass Menagerie (1950 film)|The Glass Menagerie]]'' and ''[[A Streetcar Named Desire (1951 film)|A Streetcar Named Desire]]'' were adapted into motion pictures. Later plays also adapted for the screen included ''[[Cat on a Hot Tin Roof (1958 film)|Cat on a Hot Tin Roof]], ''[[The Rose Tattoo (film)|The Rose Tattoo]]'', ''[[The Fugitive Kind|Orpheus Descending]]'', [[The Night of the Iguana (film)|The Night of the Iguana]]'', ''[[Sweet Bird of Youth (1962 film)|Sweet Bird of Youth]]'', and ''[[Summer and Smoke (film)|Summer and Smoke]]''.

After the extraordinary successes of the 1940s and 1950s, he had more personal turmoil and theatrical failures{{which|date=October 2021}} in the 1960s and 1970s. Although he continued to write every day, the quality of his work suffered from his increasing alcohol and drug consumption, as well as occasional poor choices of collaborators.{{who|date=October 2021}}<ref>{{cite web| title=Tennessee Williams| url=http://www.biography.com/people/tennessee-williams-9532952?page=2| publisher=[[Biography (TV series)]]| date=December 2, 2015| access-date=December 26, 2013| archive-url=https://web.archive.org/web/20131227034551/http://www.biography.com/people/tennessee-williams-9532952?page=2| archive-date=December 27, 2013| url-status=dead| df=mdy-all}}</ref> In 1963, his partner Frank Merlo died.

Consumed by [[Major depressive disorder|depression]] over the loss, and in and out of treatment facilities while under the control of his mother and brother Dakin, Williams spiraled downward. His plays ''Kingdom of Earth'' (1967), ''In the Bar of a Tokyo Hotel'' (1969), ''Small Craft Warnings'' (1973), ''The Two Character Play'' (also called ''Out Cry'', 1973), ''The Red Devil Battery Sign'' (1976), ''Vieux Carré'' (1978), ''Clothes for a Summer Hotel'' (1980), and others were all box office failures. Negative press notices wore down his spirit. His last play, ''A House Not Meant to Stand,'' was produced in Chicago in 1982. Despite largely positive reviews, it ran for only 40 performances.

In 1974, Williams received the [[St. Louis Literary Award]] from the Saint Louis University Library Associates.<ref>{{cite web| title=Library Associates Literary Award| url=http://lib.slu.edu/about/associates/literary-award| publisher=St. Louis University| url-status=dead| archive-url=https://web.archive.org/web/20160731082313/http://lib.slu.edu/about/associates/literary-award| archive-date=July 31, 2016}}</ref><ref>{{cite web |url=http://lib.slu.edu/about/associates/literary-award |title=Recipients of the Saint Louis Literary Award |author=Saint Louis University Library Associates |access-date=July 25, 2016 |url-status=dead |archive-url=https://web.archive.org/web/20160731082313/http://lib.slu.edu/about/associates/literary-award |archive-date=July 31, 2016}}</ref> In 1979, four years before his death, he was inducted into the [[American Theater Hall of Fame]].<ref>{{cite news| url=https://timesmachine.nytimes.com/timesmachine/1979/11/19/113925202.pdf| title=Theater Hall of Fame Enshrines 51 Artists| work=The New York Times | first=Laurie| last=Johnston| date=November 19, 1979}}</ref>