By Tennessee Williams
Christmas 1982: Cornelius and Bella McCorkle of Pascagoula, Mississippi, go back domestic one dead night in a thunderstorm from the Memphis funeral in their older son to a home and a existence actually falling apart--daughter Joanie is in an insane asylum and their more youthful son Charlie is upstairs having intercourse together with his pregnant, holy-roller female friend because the McCorkles input. Cornelius, who has political pursuits and a litany of illnesses, is attempting to discover a large number of moonshine funds his light spouse Bella has hidden someplace of their collapsing condominium, yet his noisy efforts are disrupted by means of a move of exceptional characters, either residing and dead.
While Williams usually used drama to show desire and desperation in human hearts, it used to be via this darkish, expressionistic comedy, which he known as a "Southern gothic spook sonata," that he was once most sensible in a position to chronicle his imaginative and prescient of the delicate nation of our international.
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Additional info for A House Not Meant to Stand
8 Cannon 1989 identifies a cross-cultural cyclical pattern of funerary ostentation followed by increasing regulation in the wake of lower-class attempts to blur symbolic distinctions in death rituals. The respondents to his article stressed that a satisfactory explanation must account, as his did not, for all aspects of early Greek funerary practice in the historical context. See also Pearson 1983, who argues that prominent display in death ritual may occur “where changing relations of domination result in status re-ordering and consolidation of new social positions” (112) but diminishes in a stable society.
At the opening of the kommos proper, Orestes rather tentatively expresses the wish that a better death had taken Agamemnon (345–53); but it is Electra who makes the first move toward revenge (368–71). Angered by her original exclusion from her father’s burial (444–45), she emerges metaphorically in this scene as the child of a wolf (421; see also 446). The chorus supports Electra by urging action (379—the text is uncertain here); the chorus names for the first time both the killing of Clytemnestra and the dread Erinyes (386, 402), and then echoes Electra in her incendiary depiction of Agamemon’s dishonorable burial (especially the maschalismos [mutilation of the corpse], 429 – 33, 439 – 43).
Clairmont. 1970. The monuments reemerge at about the same period that I find a shift in tragic self-consciousness about the representation of female lamentation (see my subsequent argument). 21 Garland 1985: 22 cites evidence for a continued desire for a magnificent burial in the classical period. Stears 1998: 117 thinks that the funerary legislation was particularly aimed at hired mourners, who would have been used only by the wealthiest families. 22 See Shapiro 1989 with earlier bibliography.
A House Not Meant to Stand by Tennessee Williams