I've been reading a biography of Tennessee Williams, mainly to find out more about his relationship with Carson McCullers. Tennessee is one of the best-known American playwrights, and one of the first plays that I read in high school was The Glass Menagerie. At the time, it seemed all right to me, though I wasn't especially impressed. It mirrored some of the dysfunction in his family, and, because there was also dysfunction in my family then, I didn't find it particularly interesting. Later on, I came to prefer the film versions of two of his other plays: Cat on a Hot Tin Roof and A Streetcar Named Desire. It helped that some of the best actors of the time appeared in these films: Elizabeth Taylor, Burl Ives, Vivien Leigh and Marlon Brando. The biography I'm reading is a little too chatty for me, and plays have never been a central interest of mine, so I decided to read only the parts that pertain to Carson McCullers. This book repeats some of the same information found in Mary V. Dearborn's biography of McCullers, which I think is better-written, but it adds more context with respect to Tennessee.
Tennessee was six years older than McCullers, and he was impressed by her The Heart is a Lonely Hunter and The Member of the Wedding. This resulted in his sending her a fan letter in 1946 and subsequently inviting her to his summer house in Nantucket, as I mentioned earlier. When they met, they bonded, rather intensely it seems. It would appear that, because they were both Southerners, both gay, and had similar artistic sensibilities, they rejoiced as kindred spirits. Tennessee later told James Laughlin "The minute I met her she seemed like one of my oldest and best friends!" Also, "We are planning to collaborate on a dramatization of her last book soon as I get my present play finished." On the other hand, Gore Vidal said "She was a crashing bore, but Tennessee found her sort of tragic and interesting." At that time, Tennessee's live-in boyfriend, Mexican Pancho Rodriguez, had a rather volatile personality, and he came to resent Tennessee's affection for McCullers. Before long, McCullers thought of Pancho as a gold digger. He also was an inappropriate person to mingle within Tennessee's artistic circles: no one liked him, and their relationship eventually failed. I don't know what Tennessee saw in him.
Tennessee later described 1946 as "the last good year before her stroke" (though she probably had an earlier stroke). In 1970, after she had died, he said "To have known a person of Carson's spiritual purity and magnitude has been one of the great graces of my life."
So, this isn't adding that much to my knowledge of McCullers. I have found it interesting that these two people were able develop such a close relationship. As a practical matter, it helped McCullers when Tennessee encouraged her to make stage adaptations of her fiction. It isn't clear that Tennessee got much benefit from the relationship, though, at the time, it may have enhanced his professional reputation to be associated with her. I was touched when reading the Dearborn biography that Tennessee encouraged McCullers to get psychiatric help and even recommended a therapist.
I think that the fiction and stage scenes in New York City were a lot more dynamic in the '40s and '50s than they are today. It was all really quite messy for those who participated in it, but people like Tennessee and McCullers seem to have had more fun than the current participants, who are likely to be operating under the constraints of boring corporate overlords now.