A book by James Grissom, from 2015, intertwines interviews with Tennessee Williams and several of the 20th-century luminaries who influenced him, including Katharine Hepburn and Marlon Brando. Were these conversations real?
Then, on June 16, 2020, Grissom posted a piece called “We Will Die of Stupidity,” subtitled “Interview with Harold Pinter, conducted by James Grissom, via telephone, 1991.” In it, the playwright observes to Grissom, “You and I can find each other within a day via an e-mail,” which raised eyebrows—very few people had e-mail in 1991.
Grissom was raised Southern Baptist, but, he said, he was abused in the Church, which drove him away. He said he felt that his family, which was otherwise loving and supportive, blamed him for the abuse: “They didn’t know how to deal with a gay kid.” After high school, he told me, he contributed arts reviews to local papers and, in 1980, he appeared on a local TV morning program. There he met Pat White, a Baton Rouge native who had become a television actor in New York.
Grissom was an employee at the Carlyle from March, 1998, to December 16, 1999. He suggested that I talk to his friend the director Joe Calarco, who also worked at the hotel’s front desk in 1998. Calarco recalled the two of them standing around in their tuxedos, bonding over theatre; he remembered, too, hearing about Tennessee Williams. “That was the big one for me,” Calarco said. According to Grissom’s blog, he interviewed Elizabeth Taylor at the Carlyle in 1991.
What we know about Tennessee Williams in the last year of his life is simultaneously a great deal and not enough. In addition to his other, more well-known addictions , he never stopped working, and scholars are still digging through drafts and fragments in the four main archives—at Harvard, Columbia, the Ransom Center, and the Historic New Orleans Collection. The writer Ellen F.
Some specialists told me that “Follies of God” wasn’t of interest to them because, without transparent sourcing, they couldn’t rely on it for their own work. But there are several Williams memoirs—including that of his mother, Edwina, “Remember Me to Tom,” and his friend Dotson Rader’s “Tennessee Williams: Cry of the Heart”—that have been carefully read as subjective accounts. John S.
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