A House Not Meant to Stand, edited, with an introduction and notes, by Thomas Keith (New York: New Directions, 2008).

Mister Paradise and Other One-Act Plays, edited, with an introduction and notes, by Nicholas Moschovakis and David Roessel (New York: New Directions, 2005).

New Selected Essays: Where I Live, edited, with an afterword and notes, by John Bak (New York: New Directions, 2009).

Notebooks, edited, with an introduction and notes, by Margaret Bradham Thornton (New Haven: Yale UP, 2006).

The Selected Letters of Tennessee Williams, Volume I (1920–1945), edited, with an introduction and notes, by Albert J. Devlin and Nancy M. Tischler, (New York: New Directions, 2000).

The Traveling Companion and Other Plays, edited, with an introduction and notes, by Annette Saddik (New York: New Directions, 2008).

27 Wagons Full of Cotton and Other Plays, (New York: New Directions, 1953).

Acknowledgments

ACKNOWLEDGMENTS

This volume would not have been possible without the support of the various Williams archives. I am grateful to Richard Workman, Associate Librarian, and the staff at the Harry Ransom Humanities and Research Center at the University of Texas at Austin, particularly Francisca Folch who, along with Richard, tracked down hard-to-find material and endeavored to answer my endless questions. My heartfelt thanks are due to Michael T. Ryan, Director of the Rare Book and Manuscript Library, and Jennifer B. Lee, Curator of the Performing Arts Collection, at Columbia University who went out of their way to offer much needed assistance. Mark Cave, Curator of Manuscripts/ Oral Historian at the Historic New Orleans Collection, has long been helpful with any and all requests, and I owe him a debt of gratitude. I am also thankful to the New York Public Library for the Performing Arts at Lincoln Center, The Goodman Theater Archive at the Chicago Public Library, Washington University Library, and the Manuscripts Division at the UCLA Library, Department of Special Collections.

I want to express my appreciation to Linda B. Lankewicz and Donna L. Pierce at the University of the South, the proprietors of the copyrights of Tennessee Williams, who authorized this publication. And always my warm thanks go to the literary agent Georges Borchardt and the theatrical and literary agent Tom Erhardt for their continuing support of Tennessee Williams publications.

New Directions is grateful to Helen Graves, as am I, for her eagle eye and her suggestions on a variety of finer and broader points when proofreading not only Tennessee Williams but dozens of other New Directions authors over the years.

At the Tennessee Williams/New Orleans Literary Festival I want to thank Paul J. Willis, Janet Daley Duval, Arin Black, Laura Lane Miller, and Ellen Johnson for their many years of support, and Aimée Hayes and Marieke Gaboury of Southern Rep Theatre for the care they have taken producing premiere productions of three of the plays in this volume.