Williams begins The Glass Menagerie with a comment by Tom Wingfield, who serves as both narrator of and character within the play: “Yes, I have tricks in my pocket, I have things up my sleeve. But I am the opposite of a stage magician. He gives you illusion that has the appearance of truth. I give you truth in the pleasant disguise of illusion.” In one sentence, Williams has summarized the essence of all drama. To the very end of the play, he maintains a precarious balance between truth and illusion, creating in the process what he contends is the “essential ambiguity of man that I think needs to be stated.”
Williams suspends the audience of his interplay between reality and illusion by having Tom, who has run away from home, serve as a storyteller. As he remembers bits of his past, he fades from the role of narrator into the role of character and then back again, providing a realistic objectivity to a highly subjective experience. The transitions between past and present are accomplished by the use of lighting, legends (signs), and mood-creating music. Both outsider and insider, Tom cannot escape from the memories that haunt him; traveling in some foreign country, he sees or hears something that reminds him of his past. In writing a memory play, Williams successfully balances past with present, illusion with reality, fragility with brutality, mind with body, freedom of the imagination with imprisonment of the real world, and other unresolvable paradoxes of life. The combining of narrator and character in one person is itself a paradox, as Tom tells his story both from the outside looking in and vice versa.
Tom Wingfield’s story is about himself, a young man who finds himself working as a stock clerk in a shoe factory to provide a living for his mother, Amanda, and his sister, Laura. The father has long since deserted the family. Only his larger-than-life photograph hangs on a wall to remind Tom of a father “who left us a long time ago” because, as a telephone man, he had “fallen in love with long distances . . . and skipped the light fantastic out of town.”
Both the photograph and the family’s economic plight serve to remind Amanda of the many “gentleman callers” she might have married instead of her ne’er-do-well husband. She escapes into the past even as she attempts to make things happen in the present, supplementing Tom’s income by selling women’s magazines over the telephone. She also attempts to provide Laura with some means...
(The entire section is 1023 words.)