chumbers.

Along with Heart of Darkness and Ariel , Cat on a Hot Tin Roof was one of the core texts I studied during my Year 12 English Literature class. And, as with those two texts, it was and remains a cherished work in my literary heart. This series presents some essays from my investigation of this wonderful play.

There is much to love here. The world and characters Williams has created are at once relatable, but remain in many ways irreducible. We are knowingly invited to cast labels and aspersions on each - Maggie for her catiness, Brick for his reticence and seeming homophobia - yet to do so would be to miss the point being made. After all, writing in a tumultous political climate of communist fear and regressive politick precisely because society had been reduced to labels - male, female, slave - Williams wants to show us the degeneracy of his world’s ways. We are all people and remain infinitely complex, unbound from petty titles and roles.

Much can be said about the bravery Williams showed in penning such a play. The open discussion of societal flaws, and in particular man’s “greatest sin” (homosexuality), openly ran against what was acceptable at the time ¹ . However, what strikes me most is the timeless message offered beyond the discussion of sexuality. Emotion, love and that famous word - mendacity - all feature as prominent themes. Each character, caught up in their performance, begs the question - what is the black heart afflicting the world we inhabit?