Volume III of the series includes Cat on a Hot Tin Roof (1955), Orpheus Descending (1957), and Suddenly Last Summer (1958). The first, which won both the Pulitzer Prize and Drama Critics Award, has proved every bit as successful as William's earlier A Streetcar Named Desire. The other two plays, though different in kind, both have something of the quality of Greek tragedy in 20th-century settings, bringing about catharsis through ritual death.

This new volume gathers some of Williams' most exuberant early work and includes one-acts that he would later expand to powerful full-length dramas, including "The Pretty Trap," a cheerful take on "The Glass Menagerie," and "Interior: Panic," a stunning precursor to "A Streetcar Named Desire."

THE STORIES: MOONY'S KID DON'T CRY. A short play about a worker, his wife and child. (1 man, 1 woman.) THE DARK ROOM. A tragic sketch about an Italian woman and a welfare worker. (1 man, 2 women.) THE CASE OF THE CRUSHED PETUNIAS. A delightful, hum

Written in response to Much Ado About Nothing and performed by Dominic Cooke's Pericles and The Winter's Tale Company, Roy Williams' Days of Significance is set in market-town England and the deserts of Iraq. Two young soldiers join their friends to binge drink the night before they leave for active service. Their complex love lives and mortal fears directly impact on their tour of duty. Roy Williams looks at how the naive and malformed moral codes of these young men have catastrophic reverberations for the West's moral authority.

The thirteen one-act plays collected in this volume include some of Tennessee Williams's finest and most powerful work. They are full of the perception of life as it is, and the passion for life as it ought to be, which have made The Glass Menagerie and A Streetcar Named Desire classics of the American theater. Only one of these plays (The Purification) is written in verse, but in all of them the approach to character is by way of poetic revelation. Whether Williams is writing of derelict roomers in a New Orleans boarding house (The Lady of Larkspur Lotion) or the memories of a venerable traveling salesman (The Last of My Solid Gold Watches) or of delinquent children (This Property is Condemned), his insight into human nature is that of the poet. He can compress the basic meaning of life—its pathos or its tragedy, its bravery or the quality of its love—into one small scene or a few moments of dialogue. Mr. Williams's views on the role of the little theater in American culture are contained in a stimulating essay, "Something wild...," which serves as an introduction to this collection.

In 2011, the centennial of Tennessee Williams’s birth, events were held around the world honoring America’s greatest playwright. There were festivals, conferences, and exhibitions held in places closely associated with Williams’s life and career—New Orleans held major celebrations, as did New York, Key West, and Provincetown. But absolutely nothing was done to celebrate Williams’s life and extraordinary literary and theatrical career in the place that he lived in longest, and called home longer than any other—St. Louis, Missouri. The question of this paradox lies at the heart of this book, an attempt not so much to correct the record about Williams’s well-chronicled dislike of the city, but rather to reveal how the city was absolutely indispensable to his formation and development both as a person and artist. Unlike the prevailing scholarly narrative that suggests that Williams discovered himself artistically and sexually in the deep South and New Orleans, Blue Song reveals that Williams remained emotionally tethered to St. Louis for a host of reasons for the rest of his life.