Authorizing History: Victimization in "A Streetcar Named Desire" Author(s): Anca Vlasopolos Reviewed work(s): Source: Theatre Journal,

Vol. 38, No. 3, Performance of Textual History (Oct., 1986), pp. 322338 Published by: The Johns Hopkins University Press Stable URL: http://www.jstor.org/stable/3208047 . Accessed: 21/02/2013 08:19
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Authorizing History:Victimizationin A Streetcar NamedDesire

Anca Vlasopolos ofjudgments notesthat In a remark characteristic passedon modemdrama,a critic A Streetcar Named Desire, it would have been called a if Shakespeare had written so dubbed and later"problem" plays, themselves "problem" play.1Like Elizabethan A Streetcar Named Desire raises questions because "thetermgives least offense," and audienceresponse.2 as well as about performance about genreand ethics, While in tragic inherent the victimization and comic conceals theideologyofdramatic genre centuries and the"crisis" both the"problem" form, plays of thetwenplays of earlier This unmasking to unmasktheviolenceinvolvedin victimization. tiethtendrather from that the alike. The comes critics and audiences disturbed has strategies "problem" of in their violent historito the viewer these plays deploy processes implicate - theprocessesof constructing of thecharacters' a narrative pasts- instead ography with A Streetcar Named Desire crises. associated of purging theviewerof emotions in an issue announced,but stillundeclared, earlier"problem" makes explicit plays, versus the and story-tellers namely, the narrativeauthorityof history-makers of thatauthority. of thevictims dramatic representation toward NamedDesirehas beendirected ofA Streetcar Academiccriticism primarily on whether the focused of the and has theethical and generic playcan be play, aspects forms as that take In general,critical as a tragedy. classified generic interpretations

Author at Wayne StateUniversity. is Associate Anca Vlasopolos ofThe Symbolic Method Professor ofEnglish articles Romantic ondrama, ofColeridge, Baudelaire, and Yeats, shealsohaspublished period. film,and the theatre. a book on anti-generic She is currently writing

1JohnM. Roderick, "From 'Tarantula Arms' to 'Della Robbia Blue': The Tennessee Williams Press A Tribute, ed. JacTharpe(Jackson: TennesseeWilliams: Transit University Authority," Tragicomic of Missouri,1977), 116. of Toronto Press,1950; rpt. 2E. M. W. Tillyard,Shakespeare'sProblemPlays (Toronto: University 1971), 1.

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to containthedisturbances normative liminalplays producedby generically attempt likeA Streetcar Named Desire,plays in whichthevalues thatlead to theinstallation of genreas norm come into question. For instance,in a sweepingindictment of the Williams that drama, twentieth-century argues Raymond "rhythmof in - is which the the of classical made sacrifice the hero tragedy" age regenerative we have is to what instead a audiences who gone; resignation generalguiltamong with a victimizedhero.3 This nostalgia for the regenerative sacrificeof identify classicismoverlooksthe hypocrisy of catharsis both on stage and off:the crisison the audiencepurgedof the veryemotions stage resolvedby murderous unanimity, lead to rejecting thatmight violenceas a meansof regeneration. Most of thecriticism of A Streetcar Named Desire concerns itself either withTento achievea unified nesseeWilliams's toneor, moreobsessively, with failure generic themain character as a separately unit of the The functioning performance. generic and ethical used to measuretheplay'ssuccessshowthat A Streetcar Named yardsticks Desirefailseither becauseithas no ethics no moral instruction for the (i.e., audience), or becauseitis a "modern in theterms ofRaymond rather thanan Williams, tragedy," Aristotelian who Critics the neither of the as of failure regard play tragedy.4 typical in the modern nor as an modern nor as suca age, tragedy anomalyamong plays, yet cessful to domesticate theviolenceat thecenter ofA Streetcar Named tragedy attempt Desireby treating theplay as realistic drama.Theyproposethatthecourseof history makesthemaincharacter's and thatherviolationand expulinevitable displacement sion are "natural."s ascribedto theplay, theportrayal of the Apart fromthegeneric unintelligibility hero, Blanche,has led to readingsbased on standardsotherthan aestheticones, reactions to Blanche,concurin which,thoughviolently judgments opposed in their their exclusive focuson theheroas themoralkeyto theplay.6Perceptions of Blanche as the sole representative of sensibility a callous side by stand destroyed by society

Press, 1966), 157-58. 3RaymondWilliams,Modern Tragedy(Stanford:Stanford University *See JosephWood Krutchin The Modern Temper(New York: HarcourtBrace, 1929), 14; Orrin E. Klapp, "Tragedy and the American Climate of Opinion," Two American Tragedies: Reviews and Criticismof Death of a Salesman and A StreetcarNamed Desire, ed. JohnD. Hurrell (New York: World of TennesseeWilliams,"Modern Drama 1 (1958): Scribner's, 1961); Signi Falk, "The Profitable Blues: The Plays of Arthur Millerand TennesseeWilliams," in Two 172-80; Kenneth Tynan, "American AmericanTragedies, in Twentieth 129; David W. Sievers,"Freudon Broadway," Century Interpretations Named Desire,ed. Jordan Y. Miller(EnglewoodCliffs: Prentice T. ofA Streetcar Hall, 1971), 90-93; John von Szeliski,"TennesseeWilliamsand theTragedyof Sensitivity," in Twentieth Century Interpretations, Named Desire," in Tennessee Williams:A 65-72; Britton J. Harwood, "Tragedy as Habit: Streetcar Tribute,104-15. -Jacob H. Adler, "TennesseeWilliams'South: The Cultureand the Power," TennesseeWilliams:A Tribute,30-52; Leonard Quirino, "The Cards Indicate a Voyage on A StreetcarNamed Desire," TennesseeWilliams:A Tribute,77-96; JosephN. Riddell,"A Streetcar Named Desire- NietzscheDeModern Drama 5 (1963): 423-30. scending," 6 thanheroineemphasizestheactivecentrality of BlancheDubois to My use of theword "hero"rather A Streetcar Named Desire.

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and nymphoof her as sexuallyimmoralor as a prostitute side with descriptions so Blanche that envision herdeathat critics feel Some about maniac.7 strongly they off to if allows us to her carried the of even the see theend theplay, asylum.8 plotonly and reviewers, are not as oneas reported by directors Responsesto performances, to thetextbecausetheycontaina deep ambivalence: sidedas theacademicresponses withthediscomfort of identifying withher of Blanchecombines thesavage rejection thatmake himtriumph.9 thecircumstances and accepting destroyer from differ theaudienceswho enjoytheplay "for Although unquestionably purists in the of both groupspointto certain deficiencies theresponses thewrongreasons," that have toward A Streetcar Named been taken and ethical approaches generic it has conveniently criticism has tendedto remain Desire. Ifgeneric neo-Aristotelian, limitations of women heroes and theimplicaabout the Aristotle's caution discarded on the perthe concentration tions of his remarks.1' Consequently, single-minded his/her which for a flaw that of theheroand thesearch downfall, explains sonality in 1947,and NamedDesiresinceitsfirst have beenappliedto A Streetcar performance to thefore view of womenhave brought focuswithits constricted the Aristotelian of context of theplay. The larger concerns thanthecentral aspectsrather onlycertain domifrom a critical theethicsrepresented standpoint by theplay has also suffered critiof history. faith in theprogress natedby a firm Thus, insteadofbeingexamined of thenecessary Named Desire becomessymbolic cally, theviolencein A Streetcar evolutionfrom and inevitable past to present. of anthropology as well as deconstructionist and literary applications By bringing can criticism move of to A Named Streetcar methods reading feminist Desire, beyond of thedesireforcontrol towarda questioning theplay generically, theurgeto classify

see Leonard Berkman,"The Tragic Downfall of Blanche of Blanche'smoral character 7For defenses and Tragedyof IncomDuBois," Modern Drama 10 (1967): 249-57; BertCardullo, "Drama of Intimacy TennesseeWilliams:A Tribute,137-53; Harold A Streetcar Named Desire Reconsidered," prehension: Clurman,"TennesseeWilliams,"Lies like Truth:TheatreReviews and Essays (New York: Macmillan, CenturyInterpretations, 1958), 72-80; Durant da Ponte, "Williams'FeminineCharacters,"Twentieth of Blanche see RobertEmmetJones,"TennesseeWilliams'Early Heroines," 53-64. For condemnations Modern Drama 2 (1959): 211-19; Philip Weissman, "A Trio of Tennessee Williams' Heroines: The TwentiethCenturyInterpretations, 57-64; George Jean Nathan, "The Psychologyof Prostitution," 37; Howard Barnes,"O'Neill Isn't Drawn by Pegasus,"in Twentieth Streetcar Century Interpretations, 35. in Twentieth StatusWon by Authorof 'Streetcar,"' Century Interpretations, 8Jordan writesof Blanche'send, to Twentieth Y. Millerin his "Introduction" Century Interpretations in death,"12; in a 1947 reviewentican onlybe recognized of one whose richhumanity "thedestruction "sheIBlanche]is as real Shaw writes, in Twentieth 45, Irving tled"Masterpiece," Century Interpretations, and done to death in our own front to us as if she were a livingwoman put to the torture parlor." Named recordedin his "Notebook for A Streetcar moral ambiguity of remarkable 9In a statement of theplay,writes director 22, Elia Kazan, thefamousfirst Desire,"in Twentieth Century Interpretations, are sitbut thenrealizethat"they to tellBlancheoff, withStanleyin wanting thataudiencesfirst identify Clurman,p. 78, who considersStanleya proto-fascist extraordinary"; tingin at thedeath of something thatStanleytriumphs on thepartof theaudiencewhenhe suggests attitude detects a moresinister figure, that thecollusionof theaudience,whichis no longeron theside of theangels";Falk,p. 175, reports "with sweptover the audience." laughter duringthe rape scene "waves of titillated of MichiganPress,1973), 43. Poetics,trans.Gerald Else (Ann Arbor: University 1 Aristotle,

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ofthecanonthat suchurges." Theplay's underlies results not generic indeterminacy ina distancing, inan inability, tocrystallize butrather almost a refusal, emotions on either sideof theissues raised. Whiletheoppositions setup in A Streetcar Named Desire between soulandbody, anddeath andlife havebeenexampastandpresent, it is theconflict inedexhaustively, twoversions between of history for struggling for that be salient oftwentieth-century should us in thelight historical exauthority Thelucidity ofWilliams's inthe viewofthe perience. representation appears impartial combat which he gives twoantagonists us between andina resolution that doesnot sentimentalize the victimization ofthe loser toa more as an ascension world. glorious audiences arrive at a sense ofthe identifications, Swayed by alternating sympathetic arbitrariness involvedin history-making and its attendant victimization. They that historical on power, notlogic, discourse for itsformation. perceive depends Forall the for over the ofpastandfuture that takes struggle authority interpretation more normative the hasbeendetermined Rex, placeinthe generically Oedipus plot by theDelphicoracle, and no amount of Sophoclean subversion couldshakehisaudience's faith inthe authorized ofthe version inits hence divinely story, predisposition to pity andterror. on thecontrary, us for so much as Williams, predisposes nothing Somemayargue that Blanche's Southern accent andplantation uncertainty. origins mark her for the turns taken as victimization, inescapably given byAmerican history, doesOedipus's name. Yetthe hidden determinism uncovered Williams's ultimately by thehistory oftheSouth as we nowhaveitthan with playhaslesstodo with genderdetermined exclusion from thelarger historical discourse. I From the ofa conflict between different ofhistory, versions perspective scrutinizing Blanche at theexpense oftheother characters and ofthetheatrical context givesas oftheplayas wouldlooking a picture for flaw without to lop-sided Oedipus's regard theoracle.The ultimate measure of thestruggle in A Streetcar Named represented Desire is the ofreason tounreason, ofsanity tolunacy. Blanche's fall from opposition her ismasterfully inher turned over authority, subjection, captured byWilliams being to thesupreme incharge oflanguage, incharge ofinterpreting the authority pastand thefuture in thetwentieth thescientific of predicting century: psychiatry, judgment thesoundness ofthe soul.Yetunlike the this final arbiter does decrees, godsandtheir notovertly or determine theplot,so that theweight ofauthority oscillates envelop theplayfrom Blanche to Stanley, it theseeming or incoherence throughout giving
" Specificcriticaltextsby severalauthorshave been of greatuse to me in myanalysisof A Streetcar Named Desire: Ren6Girard,Violenceand theSacred, trans.PatrickGregory (Baltimore: Johns Hopkins Press, 1977); VictorTurner,FromRitual to Theatre:The Human Seriousness University of Play (New York: Performing ArtsJournal Mama: The FemaleBody Publications, 1982); RobertScholes,"Uncoding as Text,"Semioticsand Interpretation (New Haven: Yale University Press,1982); Susan Gubar, "'The BlankPage' and FemaleCreativity," and Sexual Difference, ed. Elizabeth Abel (Chicago: UniverWriting sityof Chicago Press, 1982), 73-93; Sandra Gilbert,"Costumesof the Mind," Writing and Sexual Difand Amazons (AnnArbor:University 193-219; Page duBois, Centaurs ference, ofMichiganPress,1982); as well as Freud'sTotemand Taboo: Some PointsofAgreement betweentheMentalLivesofSavages and Neurotics,trans.JamesStrachey(New York: Norton,1950).

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that has troubledcriticsand audiences. Criticshave noted genericindeterminacy suchas their similarities betweenthesetwo antagonists, love of costume, astonishing to their themselves.12 their tendency aggrandize chargedsexualpresence, - of BelleReve, of Stella'sloyIn thecrisisprecipitated by questionsof possession of fromone characterto most of oneself the shifts authority alty, importantly so that perhapsthe most disanothercarrywith themthe audience'ssympathy, of the play is the audience'swillingsubmission to a character's quietingrevelation of events. But in to that version a the end character's of and situation, mastery that an intention the history-makers, Williamsintendsto subvertthe story-tellers, suchas thebackdropwhichbecomestransparent becomesclearin thestagebusiness, and the contestbetweentypesof musicand junglenoises. The at crucialmoments of thenarrative version thetriumph contradict visualand aural effects by all accepted of of authority, but theone who is stripped thecharacters dispossessed authorship. of texts ofinterpretations A Streetcar NamedDesireis made up ofactsof"reading," - theBelleRevepapersand thewordson and inscriptions documents thatrangefrom and people. As theycontesteach other'sinterMitch'scigarette case - to pictures Blanche and Stanleyresortto similaremotionaland linguistic pretiveauthority, winout over act ofreading in order to Whydoes Stanley's gainascendancy. strategies about the a clue does Williams here Blanche's7 themoreliterate Only provide perhaps thename and "blank," outcomeof theplay: thename Blanche.Meaningboth"white" thanitself. to be made other Not surto succumb to inscription, seemspredetermined from to have shifted which seems at the at the authority clearly point prisingly, not of course does is The that declares Blanche "nolily." Blanche,Stanley explain, pun ultimate butmerely foreshadows, Havingbeenshownin thebegintriumph. Stanley's the difference betweenreal and fake among Blanche's ning as incapableof telling over his sister-inauthority Stanleyis finally givencomplete remaining possessions, law's truecolors. in theplay and by theauthescope of thereadings Within bycharacters performed to being evena cipher, text for a moves from Kowalski Blanche, dience,Stanley being to enters unknown who is an an authorofhistory. Blanche, quantity Stanley, equally the and loses which she withlimited throughout first alternately enlarges authority with confrontation her in the which then and she second, during scene, regains as herself the Belle Reve. about character, Stella,presents Although mediating Stanley about thetrue on both Stanleyand Blanche,herpassionateassertions an authority at leastin one instance natureof each are disregarded by by both,and are disproved unitthat a undifferentiated function as a characters The other theplot. chorus, fairly Mitchneverof authority. is swayedby theexercise characterized, Thoughmorefully of thetwo and of of the loss measure a normative theless servesas ascendancy gain rivals.

in A StreetcarNamed Desire," Tennessee Williams: A 12Normand Berlin, in "Complementarity Erman'sRemakeofTennesseeWilliams'A an Icon: John Schlueter, 97-103; and June Tribute, "Imitating Named Desire,"Modern Drama 28 (1985): 139-47. Streetcar

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first hiswife's gentle Stanley's by two"readings": reprimand appearanceis mediated thathisthrowing raw meatat forhismanners, and theexplicitly sexualinterpretation to be read thetwo neighbor women. Blanche, Stellaelicits from remains by contrast, withWilliams'sstage thereaderis presented by theaudience. (Unlikethespectator, thatshape a perception of Blancheas a stagepresence.)In thefirst scene directions herstrengths Blancherevealsmoredirectly thanStanley and weaknesses, and thusthe sourcesof bothherauthority and hereventualloss of it. She comes inappropriately on a slip of theinformation written dressed, and, because she seemsunableto merge she seemslost. herself, paper withtheplace in whichshe finds theplay Blanche'sdisplacement is underisolatesher. Her confidence Throughout minedby a setting in which she is unsureof the social conventions, the successful of whichis indispensable forgainingand maintaining Not manipulation authority. hergenteel "Please don'tget up," with"Nobody's only does Stanleydismiss protest, but Stella,who has warnedherabout theinapgoingto getup, so don'tbe worried," of her customsto thepresent finds her sister's attitude" setting, plicability "superior to "place"resonates Blanche's relation from thefirst "outofplace."13 In effect, scene,in which"this withBlanche's"homeplace,"owned by Euniceand Steve,is contrasted of whichis variously place, theplantation" (pp. 248, 249), thepicture by interpreted withMitchcenters Euniceand Stanley.Blanche'saffair on herneeding a place away fromStella and Stanley,and Mitch'srejection in a refusal of her expresses itself to to her, thebus ticket to Laurel,serves bringher "home."Stanley'sbirthday present his declaration "She'snotstayin' hereafter onlyto underline Tuesday."LikeStella,he knows Blanchecan return to no home. IfBlanche's leavesherat a tremendous whenitcomesto displacement disadvantage her her are equally apparent.Her wit and learning establishing authority, strengths allow herto express bewildered merriment over thenamesof New Orleansstreetcars and their Cemeteries and Elysian Fields.She situates herself within Stella's destination, theliterary allusionswhensherefers to theL & N tracks as Poe's "place"by expanding woodland of Weir" (p. 252). Her insistence on defining the "condi"ghoul-haunted tions"according to whichStellahas agreedto live givesherenoughauthority to put Stellaon thedefensive: "It'snot thatbad at all. New Orleansisn'tlikeother cities" (p. thisone is disproved in thecourseof the 252). Like some of Stella'sotherassertions, plot, in whichNew Orleans is shown to be verymuchlike othercities,like other towns,and notablylike Laurel,Mississippi. Nowheredo Blanche's have greater thanin herconfrontation with strengths weight of over the loss Reve. Belle forced to of Stella her how she Stanley Having accept story lost the plantation her . . . bled for almost died for ("I it, it") by pitting privations ("In bed - withyour Polack"), Blancheremains againstStella'ssensual satisfactions forthefirst to convince off-stage partof Scene Two, in whichStellafeebly attempts of Blanche'saccount. Blanche'sabsence fromthe stage is less Stanleyof the truth in Scene One, whichcloses withherbecoming ill in the damagingthanherpresence
Named Desire, in The Theatreof TennesseeWilliams(New York: Williams,A Streetcar 13Tennessee New Directions,1971), 1, 290. All further quotationsare fromthisedition.

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1986 328 / TI,October cautionsStan againstmaking presenceof Stanley.In Scene Two, Stella repeatedly are Blancheill again: "shell go to pieces" (p. 273). Once more, Stella's assertions While and she is disproved characters, by plotdevelopments. disregarded by theother Blancheis absentfromthescene exceptas a singing voice, herphysicalbeingis rethat It occasionsthedisputeabout Blanche's veracity placed by herwardrobetrunk. it defends itself the play. And curiously, continues againstStanley'satthroughout becauseitconas Blanchedoes whenshe comeson stage,chiefly tacksas successfully Blanche his attempts at reduction. tainsmore than Stanleycan fathomand resists both and for the is in trunk" time that I own that 281), being (p. declares, "Everything telltheir ownerand objectsuccessfully story. of the thelatervictimization The violenceagainstinanimate objectsforeshadows forces the stateofhealth, about Blanche's hero.In answerto Stella'swarnings Stanley his in to that convince Stella its contents an and trunk suspicions attempt ravages open is uselessat this But his physicalstrength about Blanche'sfraudare well-founded. is undercutby his obvious and avowed ignoranceof point, since his authority to inis forced Twice Stanley ofhisexperience. immediate outside the sphere anything who would be able to appraiseBlanche'sfurs of "acquaintances" voke theauthority and old by Stella. The thirdtime, as "inexpensive" and jewelry, alreadyrecognized in legal matters to his Blanche by anincompetence directly Stanleyacknowledges Belle the Reve about a would consult thathe papers. "lawyer acquaintance" nouncing who is beingdiscussedbehindher back and whose Having begun as a stranger Blancherisesin Scene rifled for a clue about her criminality, are possessions being Stella's both Stella and Two to a positionof authority Stanley.She rejects vis-a-vis on own. her in to confront order for her an errand and invents Stanley protection its for at the remains she on the trunk, indisputably owner, DespiteStanley'sattack hands" in same timethatshe places theBelleReve papers Stanley's "big,capable (p. and itsend. More im284), she provesto be thesole possessorof BelleReve'shistory thatshe insteadof going"to pieces,"she managesto regainthe integrity portantly, thathas an integrity herself has felt away ("I've got to keephold of myself"), slipping been assaultedby Stanleyand ill-defended by hersister. betweenthe two rivalsbeginsas soon as theysharethe formastery The struggle a her Southern-belle to subdue Stanleythrough flirtation, stage. Blancheattempts able whichhe is easily but through understand whichhe does notentirely convention behavior whenhe beginshis speechabout the to cut. She uses evenmoreprovocative hermove withthecrudebut effective Napoleoniccode, and again Stanleycounters withflirts, women who "Don't play so dumb" (p. 281). Since Stanley'sexperience overvaluetheir good looks, and thosewho give men"ideas"about themseemsvast, over him onlywhen she uses a fail. She beginsto gain ascendancy Blanche'stactics of Belle Reve that takes her out of language to describeher past and the history "I have never ken,thatmakesherthewomanabout whomMitchconfesses, Stanley's knownanyonelike you" (p. 343). evasive languageand The two levels of discourse,Blanche'sevocative,diffuse, and based on gender factualspeech,pointto a distinction direct, seemingly Stanley's her. In Scene defeats class thatfora timeworksin Blanche'sfavor,but ultimately

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but he imOne, Stanleyadmitsthathe "neverwas a very good Englishstudent," tries to erasethatfailing Blanchefeelitsirrelevance to his domimediately by making "How long you nantpositionversushis higher-class, sister-in-law: English-teaching of of thecontents herefor,Blanche?"(p. 267). In Scene Two, Stanley's interpretation to them to swindle that he Blanche'strunk reduce the Blanche to attempts suspects have perpetrated on Stella- and moreimportantly, on him. Each itemhe examines becomes another dress," piece of evidencein the case againstBlanche:"a solid-gold fox mile a half a "the treasure of chest a "genuine fur-pieces, long," pirate," "pearls! Ropes of them!""And diamonds"(pp. 274-75). Stanley'sconclusionis that"there's of dollarsinvested in thisstuff thousands here"(p. 274), and that"here's yourplantaofit,here"(p. 275). Neither is "next tion,or whatwas left Stella'sexpertise (rhinestone door to glass")nor herrepeated be such an have no idea ("Don't idiot," protests "you how stupidand horrid on have effect because you'rebeing") any Stanley theymerely counterhis propositions, insteadof changing thelevel of discourse. seizes mastery fromStanleyduring their Blanche,however,almostinadvertently confrontation about BelleReve. Her fierce ofher"love-letters, defense with yellowing from all one in a that is at a loss to 282) boy" antiquity, (p. brings complexity Stanley henceto reduce.Insteadof thecold factsof legal papersintowhichStanley fathom, thinkshe will instantly read an indictment of Blanche,he is faced with scattered from the of texts such evocative dead, "poems" powerthatBlanchearticulates directly oftheir theterms "I hurt him the me,but way thatyou wouldliketo hurt relationship: ofherinmost core,the"inyou can't"(p. 282). Comparedwiththis passionatedefense timatenature"of which cannot permitanother'stouch, the exchangeof the legal Blanche is very much in controlof Stanleyas she papers becomes an anti-climax. relatesthehistory of BelleReve, one whichhe cannothope to encompassas a comtext:"Thereare thousandsof papers,stretching back over hundreds of prehensible This like the New Orleans as Blanche text, streetcar, leads, years"(p. 284). putsit,to to whichnow all but Stellaand I have retreated" the"graveyard (p. 284). To Stanley's - "I have a lawyer acquaintance who will study these avowal of incompetence themto him witha box of aspirin out"- she respondswithgrimhumor,"Present tablets"(p. 284), thereby whateverremainsof Stanley'saccusations.The deflating withwhichBlancheconcludes thisclimactic confrontation withherantagonist dignity makes Stanleylaterrefer to her,repeatedly and enviously, as a "Queen." movesfrom bafflement overthelove letters to sheepishness about hissuspiStanley cions and attempts to retrieve lost groundby introducing anotherhistory, another to Blanche's account of Belle Reve one to which he knows Blanche as a ending, woman cannotremain insensible. He excuseshis attackon heras thenecessary action of theprovider, sincehe and Stellawill have a baby, who presumably will continue thestory ofBelleRevebeyondthegraveyard. The respite hisannouncement following theharmony of an authority the between represents equallypoised,forthemoment, two rivals. Blanche'svying withStanleyforStella,fora "place," fortheauthority by whichto assess life'sworthbecomes more explosivein Scene Three (The Poker Night)and Scene Four, as each perfects his or her readingof the otherand triesto enlistsupof portersfor his or her own version of history.Justas Blanche's anticipation

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- "Pleasedon'tgetup" - appearsridiculous and antiquated whenappliedto courtesy so of over the women of the exercise authority Stanley'spoker buddies, Stanley's in theviolent Yet Stanley's loss of self-control excessive. householdseemsirrationally of from the of concludes the gradualseepage authority pokergame merely break-up thescene.Whenhe ordersStellato "hushup,"she replies, himto Blanchethroughout as he "This is my house and I1l talk as much as I want to" (p. 294). Soon after, to perceivesMitch'spossible defection Blanche'sside and becomes enragedby it, off alliesprotest, theradio. Evenhisremaining orders Blancheto turn "Aw,let Stanley thegirlshave their music," "Sure,that'sgood, leave it on" (p. 295). of Blanche'strunk, As in the matter physicalviolencebecomes the responseby The increasing dissent makesStanleytry even whichto subduethefemale adversary. he bellowsforMitchto overMitchand thewomen.Repeatedly to keepcontrol harder of takehisplace in thepokergame,whileMitchis magnetized by thefeminine sphere to theinner roomwherethey retreat thebedroom,so defined by Stellaand Blanche's When his commandsto Mitchand Blanchefail and laughter. exchangeconfidences theradioout thewindow.Despitethe theradioon again,he throws and Blancheturns to Stellaof Stanley's and as a reminder earlier rights slap thatservedbothas warning of Stanley, to her,herdefiance you" and by demanding by callinghim"animalthing, herin earnest.Conthatthepokerplayersleave (p. 302) provokeshimintostriking in theworld"(p. so confusion so much "there's much that to lament Blanche's trary His male friends make amendsforhimand his authority. restores 309), his explosion to Stanley, of hiscapacityforviolence,and Stellareturns takecare of him,respectful of the Blanche's over her. his events, night's reading "lunacy,abaccepting mastery Euniceevenmakesitclearthat solutelunacy"(p. 303), is easilysetasideby theothers. in thepast: "I hope theydo thansimilar thisnight has endedless dramatically nights hose on you, sameas thelasttime" thefire haulyou in and turn (p. 306). To Blanche's to be scaredof. They'recrazy "Ho-ho! There'snothing Mitchreplies, "I'm terrified," who are at about each other... Don't take it serious"(p. 308). For the characters a crisispeak in a cyclein whichcrises home in theQuarter,theexplosionis merely to other thatare crises and eventually and temporary lead to reconciliation harmony, contained. easily of reality Blanchemustimposeherreading forauthority, In thecontinuing struggle revihistorical Blanche's the before Whereas lose all. or her sister on poker night it in Scene Four motivated and unconscious almost seems sionism largely by affection, she to New first comes Blanche When intentional. Orleans, becomes emphatically "I mean Mrs. Stanley asks for "my sister,Stella DuBois," then correctsherself, and as a "child." to Stellaas the"baby"sister refers Kowalski"(p. 246). She frequently once she and afterStella The morning Stanley'spassionatereconciliation, attempts that excludes a into the back more to place Stella Stanley,by past theyshare, past and tenderness" "ina rushof hysterical on thebed nextto hersister herself throwing heras "Baby,mybaby sister" provesno matchfor (p. 310). Her tenderness addressing to awake from her.Blanchethentries herself and Stelladistances embraces, Stanley's in whichtheywere both raised and of gentility Stella to her past, to the tradition thatyou still life:"I takeit forgranted whichshe cannotpossiblyfindin herpresent of Belle Reve to findthisplace and thesepokerplayersimhave sufficient memory

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thatmuchof our bringing up, Stella, possibleto live with";"You can'thave forgotten of in his nature!"(pp. 320, 322). thatyou justsuppose thatany part a gentleman's SinceStellaremains insensible to theseappeals, Blanchemovesfrom an interpretationof their of circumstances to an overview the of and particular history humanity itshope forprogress. as Stanleytries to reduceBlancheto a criminal, she tries to Just reducehim to a beast. Yet whereasStella openlyrejectsBlanche'sreadingthrough morethanspeech,Stanley, who overhears Blanche's gesture attempted coup, chances the to in order to make historical Blanche's revisionism upon opportunity plotsecretly her. boomerangagainst therivalry fortheauthority of thehistorical into voice,Blanchelaunches Escalating her reading,in which Stanleyis reducedto a specimen froma primitive phase of forhumanity to moveforward. evolution thatmustbe abandonedin order She begins herinterpretation withtheauthority of (p. 322), and supports by callinghim"bestial" anthropology: - sub-human - something There's evensomething notquite to thestage ofhumanity yet! - ape-like about him,like one of thosepictures I've seen in- anYes, something studies! Thousands ofyears and thousands havepassed himright thropological by,and - survivor he is- Stanley there of theStone therawmeat home Kowalski Age!Bearing from thekillin thejungle! [p. 323] she has seen theinefficacy of hercaressesin lightof Stanley's Although lovemaking and heard from Stella about her loyalty to the man who makes "things... Blancheproclaims thesuperiority of"tenderer over happen . .. in thedark," feelings" "brutaldesire."She places her sisteramong the "apes,"subjectto theirwill: "And you - you here- waitingforhiml Maybe hell strike you or maybe gruntand kiss you! That is, ifkisseshave beendiscovered yet!"(p. 323). On theoppositesidestands all thatis bestin humankind, and music," in the"darkmarch" "newlight" "art," "poetry of progress. Her finalplea to Stellahas reducedStanleyto thosewho need to be left behindforthesake of culture: "Don't- don't hang back withthebrutes!" (p. 323). her view of Stella'slifewith Stanley,and, especially,her If Blanche'sargument, reductionof Stanley to an evolutionary throwbackseem self-serving and clicheis also moreimpoverished, and ridden,StanleyKowalski'slanguage,ifmoredirect, hisversion ofhistory is equallydistorted and by hisown desire formastery. by cliches Becausetheactionof theplayundermines herdiscourse rather thanStanley's, we tend to fall under the spell of the language of power, of the discoursethat wins out, of its poverty.'4As late-twentieth-century intellectuals become uneasy regardless about theprivileges thatBlanche's and musicas thelight speechclaimsforart,poetry, in its dark march,so an increasing of people have begun number guiding humanity theclichesthathelp Stanleytriumph overBlanchein A Streetcar Named questioning Desire.
14For instance, Ruby Cohn, in "The Garrulous Grotesques of Tennessee Williams," Tennessee Williams:A Collectionof CriticalEssays,ed. StephenS. Stanton(EnglewoodCliffs: Prentice, 1977), 49, of herimagery" and thatlinguistically arguesthatBlanche"is trapped by thepoverty Stanleyis "a strong antagonist."

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of patriarchy discourse and is thusable Only whenStanleytaps intothedominant to reduceBlanche'sstoryto an all-too-common denominator can he vanquishher. Fromtheend ofSceneFourto theclimaxofSceneTen, Stanley the proceedsto gather evidencehe needsforan interpretation of Blanchewhichis as reductive of heras her claimshave been of him.That Stanleybeginsto discredit Blancheeven evolutionary beforehe gets "prooffromthe most reliablesources"(p. 359) becomes evidentin to give Blanchea hintabout how Stanleydiscussesher. In Scene Mitch'shesitation in which comeshomewiththe"dope"on Blanche,he has alreadywon Seven, Stanley Mitchto his side. It remains forhimto win Stellaand the"place"indisputably back from fordespite ofhersister Stella'sseeming whenthelatter attacks Blanche, rejection in thesame way thatshe herhusband,Blanchehas made inroadsintoStella'sloyalty has partlyredecorated the Kowalskis' apartment to suit her own "dainty" tastes. has made Stellafeela smallsenseof displacement as well. Clearly,Blanche's presence She declares, forinstance, thatshe likesto wait on Blanchebecause"itmakesit seem more like home" (p. 333) - the lost Belle Reve ratherthan the New Orleans flat. notesBlanche's risein status:"yourunan' gethercokes,I suppose?And serve Stanley 'em to her Majesty in the tub" (p. 358). Stella's reproofto her husband contains thesenseof a sharedpast withBlanchethatBlanchewas earlier to precisely seeking revive in her sister,and fromwhich Stanleyis exluded: "Blancheis sensitive and circumstances you've got to realizethatBlancheand I grewup underverydifferent And told thanyou did." Stanley's "So I been told. and told and told!" reply, (p. 358) that he Hence the his sense is that beingsupplanted. emphasizes sharpened necessity his versionof history fillin the"true colors"of the"lily-white" Blanche. as the "anthropological Stanley's"mostreliablesources"prove as authoritative the"lies," studies" Blanchehas gleaned.Stanleyrepeatedly assuresStella,who resists but he offers no evidence,and his success thathe has checkedhis sourcescarefully, withheris thatshe asks fornone. In fact,she haltingly corroborates his story by inwithBlanche'sbehaviorin thepast. Yet thatthere dicating may have been problems to roundout his accountby taking one that Stellaattempts a larger view of history, thestory of Blanche's marwould exculpate Blanche,at leastin part.She tellsStanley thereliability and she implicitly riageand of herhusband'shomosexuality, questions of Stanley's source:"Didn'tyoursupply-man giveyou thatinformation?" Stanley proof hisversion:"Allwe discussed was recent That must claimsthesupremacy history. have been a pretty long timeago" (p. 364). him to the WhereasBlanchewants to writeStanleyout of history by relegating of is notsatisfied witha reductive reading savage, distant Stanley past ofpre-history, to author,not only herpast, but herfuture. He has Blanche;he moves to inscribe, He then authored herpast by choosingonlyher"recent history." alreadyselectively herwitha bus blocks herescape to Mitch'shome at thesame timethathe presents has acknowledged that shecanwherehe himself ticket notto sendherback to Laurel, not return, but to exile her fromhis home. When Stella asks, "What on earthwill "Herfuture exileto a planetary Blanche's she- do,"extending scale, Stanley responds, of thatsentencemasks is mapped out for her" (p. 367). The passive construction In Scenes Eightand Ten, he proceedsto strip Stanley'sactivepartas cartographer. he had so overthat oftheillusions Blancheofherdisguises, givenherby thecostumes sinceBlanchestill But even thatseemsinsufficient, ratedwhen he raidedher trunk.

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of thestrange thatmakesStanley refer to heras dignity managesto regainsomething to the woman in the Because she refuses become traveling-salesman joke, "royalty." thestereotype of thenymphomaniacal girl,he rapesher.His famousline upper-class therape, "We've had thisdate witheach otherfromthebeginning" rationalizing (p. both the struggle formastery in which he and Blanchehave en414), summarizes reduction ofherto thewhoreof gaged,leadingto thecrucialcombat,and hisultimate his history who provokesand enjoysyetanother encounter. II The struggle over history in whichthetwo maincharacters of A Streetcar Named Desireare lockedalreadylifts theplay above domestic drama. Had it endedwiththe have beenregarded as a representation ofpost-war life rape,theplay might justifiably in theSouth,wherethemostprovocative was theshift from thearistocratproblem tenor ofsocial intercourse to thefirst-generation, lower-middle-class icallydominated urbanmoresbrought to thefore soldiers. Butthetroubling focusofA by thereturning Streetcar NamedDesireis notthata drunken alone in a two-room flat ofthe man,left French subduesand violatesher,but thatthe sister-in-law, Quarterwithhis drunken act becomespublicand thewoman is punished.She is takenaway undertheconsenton stage,who constitute mostof thecharacters in the ing gaze of all thecharacters is partly brokenby Mitch'smomentary and resistance play. The senseof unanimity theunanimity about Blanche'sdestruction by Stella'squalms,but in effect prevails. The shift fromtheprivate,readerly fortextual to qualityof thecontest authority thepublicnature of societalvictimization NamedDesirein theconplacesA Streetcar textof sociopolitical crisis.The audiencewatchesthe sentencing of Blancheto the herperception thatshe has been vicasylumthatis to be her "home"whilesharing - and implicitly - historical timized discourse. In additionto by Stanley's patriarchy's cast on stage in the makingBlanche'sexpulsionpublic by havingalmostthe entire final scene, Williams subtlypreparesfor the climax by introducing elementsof sacrificial ritualsinto the text.Following thepattern of ritual,Williamshas Blanche the victim be both exaltedand defiled, so thatboth hergreatness and herignominy take her out of the rangeof commonexperience and dehumanize her,makingher seema monster. Even beforeStanley's the on Blanche's her, getting "dope" past containsdetailsthatraiseherlifeabove thatof an ordinary and into the realmof being myth. in heraccountof theloss of BelleReve Blanchesetsherself First, up as thebesieged of the"Grim who "had put up his tent" on thedoorstep(p. 262). antagonist Reaper," The deathssherecounts there seemsto be a great deal of dimensions; acquiremythical on Blanche's None oftheold people bleeding partas wellas on thepartofthosedying. seemto have had an easy timeof it. Theydied "that dreadful even way,"one of them in a grotesque inversion of Stella'spregnancy: "so big withit, it couldn'tbe put in a coffin! But had to be burnedlike rubbish!"(p. 261). Blancheherself declaresshe and bled,"and "tookblows on myfaceand mybody"(pp. 260-61) in thepro"fought cess of keeping deathand thedissolution of theinheritance at bay. Stellaacceptsthe dimensions drawnby Blanche, sinceshetellsStanley thattheplantation "had mythical to be - sacrificed or something" (p. 270).

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of Daphne. She In thesecondplace, Blancheis associatedwiththemythical figure it in as "an orchard Williams thinkto her maiden name, (was describing spring" clings since for reason an unaccountable Blanche of ill-fated Chekhov's orchard, cherry ing a towncalled thewidow of Allan Greyis knownas DuBois?). She also comesfrom of thechasteDaphne by havingBlanchetellyet themyth inverts Laurel.ButWilliams his narestablished anotherstoryabout herpast, thistimeafter Stanleyhas firmly ofher tells him another variant lost Blanche she has rative Mitch, Knowing authority. off and chosen her husband with the death Death, fought young desperately by fight as of herself she invokes an of This her old relatives. time, image votary Aphrodite, by at night. Withadbeforethetemple thedesireof themultitudes gathered satisfying shrineare at Aphrodite's us that theseworshipers mirableirony,the textreminds death.They are youngsoldiers, themselves gathered up "likedaisies . . . the fighting of cliche recalls One home" another;many theseyoungmenare (p. 389). long way and sex, from a to push up daisies longway destined home,and their escapes,drink of of her moth. Yet means of the as those Blanche are as ephemeral myth limitless by for the uncontrollable to the future Blancheattempts reshape sexualfulfillment, decay Thus she envisions and deathof thepast and fusethemwiththeir opposite,"desire." At an easeful "anunwashed death,causedby an almostinsignificant grape." pollution, one. The strug"a veryyoung" and "nice-looking" hersidewillbe theship'sphysician, thehead blownaway, the"it"that thesoiledbed clothes, thebleeding, gle forbreath, in hervisionof the"clean all are purged fitin a coffin and had to be burned, couldn't lover'seyes" and theocean "blueas ... my first whitesack,"the"blaze of summer," 410). (p. withdeathand sex, Stanley's in herencounters IfBlancheexaltsherself debunking he is of of hermythas priestess Aphrodite equippedto deal withtheissue of sex - places Blanchein yetanother thatof not withthatof mortality dimension, though to the Blanche reduces His discourse the male joke about insatiablefallenwomen. name: of chaste the in her hometown of less exaltedlegendamongmales stature as ifshe inLaurel her.Sheis as famous knows all about ofLaurel inthetown Everybody to go on forthis was too small States .... The town of theUnited was thePresident different as notjust character. a town went Andas time forever! Regarded byshebecame on this here loco .... That's butdownright summer, visiting royalty, putting whyshe's togetoutoftown! beentold Yes,did act- because all this she's bythemajor practically was oneof theplaces sister's andyour was an army campnearLaurel youknowthere "Out-of-Bounds"? called [pp.359-61] been and his"she's their vastexaggerations, practically Stanley's "everybody" Through Blanche's about in Laurel on the toldby themayor"throwdoubt reputaunanimity withinhis sphereof influence, tion. Yet Stanleyis close to achievingunanimity if namelyStellaand Mitch,and he knowsthathe needsto debaseBlanchethoroughly to victim. herfrom he is to transform antagonist strong has less to do withthesteady Blancheintovictim successin transforming Stanley's of social discoursethatdiscredit thanwiththeconventions erosionof her authority her speechwhilevaluingStanley's.Labeled as an outsider by hercostumefromher pushed to the marginsas her escape very entranceon stage, Blanche is forcibly - are blocked, - to Mitch'shouse, back to Laurel,to Shep Huntleigh's routes yacht

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and as herposition in hersister's household becomesincreasingly defined as thatofan BothMitchand Stellaend up by accepting intruder. version of Blanche. The Stanley's clearestsignsthatBlancheherself succumbsto Stanley'sversionof her, to the inrecent ofthetraveling salesman, complete history appearin SceneTen, whichfittingly in herbeingraped. The woman obsessedwithcleanliness, culminates who takestwo bathsa day, who becomeshysterical whenshe spillsa drinkon herwhiteskirt, who willnot think ofwearing ifitis "crushed," an outfit in "a appearsin SceneTen dressed somewhat soiledand crumpled satinevening gown and a pair ofscuffed slippers" (p. one wonderswhere she may have 391). Given Blanche'sobsessivefastidiousness, founda soiled dressand scuffed but the stagedirections deal less withthe slippers, of Blanche'swardrobethanwitha representation of herpsyche,which probabilities has begunto allow forStanley's ofhersoiledlily-whiteness assessment and forMitch's echoing,"you'renot clean enough." of any alliancewithpower,even an imaginary Bereft one, Blancheas a no-longerwoman from barred her with no home, no male relatives, youngsingle profession, and no prospect of marriage, has herdestiny in mappedout forher,but not exactly theway intimated She joinsthethrong ofthedisplaced, whom by Stanley's prophecy. her discourse societydisposesof by incarceration, expulsion,or death. Henceforth becomesravings, and herpresence an embarrassment. To someextent, needsto be absolvedifthecrisis is to end everyact ofvictimization in a particularsacrificeand not in generalizedbloodshed. Anthropologists have documented thepractices of lookingforsignsof acquiescence on thepartof even an animal victimpreparedfor slaughter, and of public lamentation afterthe victim's demise. In the twentieth when the victimis human, a whole arsenal of century, is deployedin orderto establish thecomplicity ofthevictim in itsown psychoanalysis destruction. We often hearof thefusion of Erosand Thanatosin suchcomplicity, the unionof whichBlanchedreamed, but theexecution of thesacrifice beliesthewishful in Williams's ritualitself. fantasy play, as it does in thesacrificial is no bloodletting there and no actualdeathinA Streetcar NamedDesire, Although Blanche'ssacrifice is violentand ruthless. Aware of her vulnerability away from liminaltimesand spaces that allow her to exist outsidepatriarchal rule, Blanche her environment with extreme care. She to control the the designs attempts lighting, as well as thatofhersister. She permits Mitchto see heronly decor,and hercostume, at duskor night. She considers herself one ofthe"soft whoseonlypoweris "to people," shimmer and glow."As she is inexorably drawnintothesphere ofmalejudgment, the colors are bled from her: in are turned on herface,colorful lanterns shimmering lamps are tornoffnaked bulbs,and she is repeatedly told,"Now, Blanche."If we consider theplay on blanchethatrecurs A Streetcar Named Desire,we can easily throughout heartheFrench addressed to thewomanwhomwe have seen phraseas an imperative clothedin a bright redsatinrobe,especially as uttered bothby theMatronand by the Echoes that Williams introducesinto Scene Eleven: "(risingand falling): Now, Blanche- now, Blanche- now, Blanche!"(p. 416). In Scene Eleven the privateviolenceof the rape becomes the public violenceof Blanche'sflight fromthe Matronand thephysicalstruggle withher. The "inhuman criesand noises"and "luridreflections" on thewalls tie together thevictimization of

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1986 336 / T, October in the Blanche'scomplicity Blanchein ScenesTen and Elevenin a way thatdismisses to his claims about sinister slant and a than "date" erotic) (rather Stanley's rape gives on withBlanche.1" Yet in thisfinalscene,at thesametimethatthecharacters gathered in exalso their her mark Blanche's complicity passing,they accept stagesignificantly of SceneThree,in which itwithout Unliketheopening protest. pulsionby witnessing to stand to greetthereturning none of the men at the poker table intends women, her when Blancheenters, Scene Elevenhas themen standing despite customary proto alerted stand"awkwardly" "Pleasedon'tgetup." Moreover, test, (p. 413), fully they her presenceand her fate. When Stanleyrips offthe lanternin the bedroomand feet" to their themen"spring Blanchescreams, (p. 416). Mitchendsup sobbingat the inhuman abandon"(pp. 417, 419). sobs,"with table,and Stellabreaksinto"luxurious" in to which the othersreturn the game pokerplayer,leaves Stanley,the inveterate "sensual orderto consolehis wife.CombinedwithStella's"luxurious" sobs, Stanley's of participants in the indifference theultimate and sexual caressessuggest murmur" As Euniceexof their laments. of Blanche,and hencethehypocrisy forcible expulsion and believeBlanche's declaresthatshe couldn't "story" plainsto Stellawhenthelatter whathappens"(pp. 405-6). "Lifehas to go on. No matter withStanley, go on living Butwhat happensto theviewersand thereadersof Williams's play?Why is there of responseto Blanche'sexpulsion?If Stella can't believe Blanche's no unanimity sees the doubtsabout it, theaudiencenevertheless and ifsome critics express "story" of the streets sordid violence the thus become wall transparent, exposing backstage it and the hears in which action the thatparallels stage Blanche; Stanleyoverpowers In two the last scenes out drown the blues over and piano. junglesoundsthattake life mental in Blanche's forces theaudienceto participate Williams by hearespecially, on These no one hears. she and else stage ing themusic,thenoises,theechoes that to with Blanche make identification oughtto evoke enoughsympathetic stageeffects leftbehind. worldof characters thelittle us repudiate Butno suchidentification occurs,or at leastnot conclusively. Thoughfewreaders lifemustgo on, assessment: with Eunice's side withStanley, and viewers manyagree life.16 This pragmatic and baby at theend represents of Stella,Stanley, and thetrinity the raised issues from the uncomfortable turns by play. In comparing away posture sane of with Uta the"mad"Blancheof Jessica Hagen'sportrayal a thoroughly Tandy to an send someone sister a is this? Can asks: "What asylum Blanche,Bentley just for He concludes, medicaladvice?Ifso, whichone ofus is safe?" without undoubtedly the But is as mad of Blanche an that interpretation oursafety, throughout preferable.17 thatwe are not safe what Bentley, rejects: alongwithothers, play proposesprecisely of theindividual. the on of so long as themeasure insanity powerlessness depends

Gore Vidal to in Stanley'srape of her thatprompts 15 It is no doubt the senseof Blanche'scomplicity "Immortal Desire, A Named of Streetcar his discussion in victim word the marks around quotation put Bird,"The New York Review of Books, 13 June1985, 5-10. Named Desire: Its Development 16See Krutch,137; Adler, 40-41; VivienneDickson, "A Streetcar 161. TennesseeWilliams:A Tribute, theManuscripts," through thanEurope?"In Search of Theater(New York: Knopf,1953), 88. "Better '7Eric Bentley,

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What makes Stanleytriumph over Blanche?If Blancheappearsevasive and shady in her use of lanterns and make-believe, of Stanley,too, despitehis protestations needs the of colored smashed and red silk bulbs, simplicity, magic lights, pajamas to If Blanche lies about her about her about who ownsthe "ideals," getthings going. past, lies all but the wildest from rumors Laurel too, and, most by omitting liquor,Stanley, his "date" with Blanche. Unlike Blanche's which she uses lies, by denying damningly, to secureforherself a place in theworldand to displace,notdestroy, hislies Stanley, force Blanchenot onlyout of his"place"butout ofnormalsocial intercourse and into the asylum. derives from thesame sourceswhichmostof us are Ultimately, Stanley's authority forcedto acknowledgein one way or anotherall our lives: physicalviolence,inand above all economicdomination. In the quest forauthority, timidation, Stanley fromstayingwithinthe parameters set for him by his sex and class, and profits Blancheloses because she failsto conform. as normal.His pleaStanleyis perceived suresare sex, bowling, and His is to his forwhichhe drinking, poker. loyalty family, is a good provider. for his of does the threatens Except rape Blanche,nothing Stanley social fabric.Blanche,on the otherhand, is deviantin regardto her class and sex. the trappings of the aristocrat in her expensive and elegant Althoughshe maintains she has allowed to the rest like Belle from In her. emotastes, Reve,away slip, seeking tionalfulfillment, she has disregarded thebarriers of"normal" female and sexuality of class. Her actionssubvert the social order:she remains to the of her loyal memory homosexual she fulfills the desires of soldiers outside theverywalls of husband, young herancestral sheis obliviousto classinherpromiscuity, and sheseducesone mansion, of herseventeen-year-old students. theboundaries of class Having thusoverstepped and profession, she arrives in New Orleansto attempt to splitup theKowalskis,even after she learnsof Stella'spregnancy. She explicitly makesplans to take Stellaaway from to have ShepHuntleigh setthetwoofthem Stanley, up in a "shop"in whichthey can earn their and apartfromStanley. livingtogether, Despite the fact thatBlancherepresents only an illusorythreatto the Kowalski union while Stanley'srape has thepower to destroy the marriage, the man's act is more easily forgiven than the female'sdesire.18 Williams musters the most Thus, conventions about and makes them work in A Streetcar sexuality cliche-ridden Named Desire,demonstrating thatnotonlyin thetheatre butin ourliveswe recognize thehierarchy of historic discourse selected on thebasis of thosecliche-ridden conventions.Which"story" do we believein theend?The actionwe have seenon stageat the end of Scene Ten or Stanley'soff-stage denials?The fact that audiencesfeel ambivalentabout Blancheis not theproblem Williamsraises;theproblemis rather the audience'spragmatic at the end of theplay: lifemustgo on, even ifonly for shrug thosewho escape victimization, who are "safe" fornow. Unlikegenerically A Streetcar Named Desire leaves us unpurged of pure tragedy, the emotionsit elicits.We resist sucked in Blanche's for that being stories, by way
18 For instance, Cardullo, p. 141, strenuously arguesthatBlancheis thevictimof "an act of incidental, inadvertent an act therefore moreforgivable thana premeditated attack. cruelty,"

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October 338 / TJ, 1986 and perhaps feellike madnesslies;whileWilliams makesus see and hearlikeBlanche, of history is on Stanley'sside. The power of A Streetcar Named her, theauthority to redacthistory Desire restsin our experiencing the abilityof thatauthority and The force of this"problem" therefore to determine thefuture. play is to disquietus so has silenced. thatperhapswe might hear,ifnot speak for,thosewhom history

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