In Search of Blessings
Many early critics argued that the central conflict of Cat on a Hot Tin Roof is Brick's struggle with homosexuality—his reluctance to either admit his own homosexual tendencies or to understand those of his friend, Skipper. These critics saw Maggie's desire for a child as an attempt to counterbalance Brick's ambivalence and win him back to his "true" sexual nature. Yet the play is not explicit in explaining his desires or true motivations. Walter Kerr, writing in the New York Herald Tribune, referred to Brick's "private wounds and secret drives" as "a secret half-told" about which Williams is less than candid. Williams defended himself against this accusation by asserting that "The bird that I hope to catch in the net of this play is not the solution of one man's problem. I'm trying to catch the true quality of experience in a group of people, that...interplay of live human beings in the thundercloud of a common crisis." In other words, Williams denied that homosexuality per se was the central issue of Cat on a Hot Tin Roof. Whether or not homosexuality is central, Brick, who appears in every scene of the play, is clearly a pivotal character.
Benjamin Nelson, in his book Tennessee Williams: The Man and His Work, argued that the play was not at all about Brick's sexuality but about his idealism and "tragic disillusionment." Brick tells Big Daddy that he drinks out of "disgust" with "mendacity." New Republic critic Roger Ashton also suggested that the play is interested in "truth as a motivating force in human life." Williams's corroborated this reading by saying in a 1957 interview, "I meant for the audience to discover how people erect false values by not facing what is true to their natures, by having to live a lie."
Certainly the characters in the play demonstrate an unusual preoccupation with telling or withholding the truth, about Big Daddy's cancer, about the true nature of Bnck' s relationship with Skipper, and about Brick's role in Skipper's death. If the play revolves around the revelation of truth or around the characters' ability to withstand or tell the truth, then one expects that these issues will get resolved out at the end. In Big Daddy's case, they are. He receives the truth about his cancer from Brick, howls in rage at those who withheld this truth from him, then goes offstage, ostensibly to die. Unfortunately, this all takes place in Act II with an entire act left in the play. According to the "truth" reading, the third act would show how Brick resolves his relationship to truth and mendacity. This question is left unanswered, however, and a great deal of stage time is spent with Brick's inner thoughts hidden.
The final act, which Williams revised three times to total four versions, has received a great deal of criticism; the majority of negative criticism condemned the act as a poor ending to a powerful play. Many critics have argued that the heart of the play lies in the confrontation between Brick and Big Daddy and that once they say their piece to each other (in Act II), the story is essentially over. Yet the play meanders around and around in a contest between Gooper, Mae, and Maggie regarding the estate. Another reading of the play, one which takes into account the importance of the distribution of property in the play, helps to justify the actions of the final Act. The attention to the estate in Act III may not in fact be a flaw in balance but rather a continuation of an important conflict that actually frames and puts into context the central conflict between Brick and Big Daddy.
A clue to reconciling the secondary characters' conflict over the property with the friction between Brick and his father lies in the inscription Williams included on the title page of the play. It is from Dylan Thomas's poem, "Do Not Go Gentle into that Good Night"
And you, my father, there on the sad height,
Curse, bless, me now with your fierce tears, I pray.
Do not go gentle into that good night.
(The entire section is 4,331 words.)