Abstract
IN THE BAR OF A TOKYO HOTEL (1969) seems a conscious expansion and reworking by Tennessee Williams of one of his earliest one-act plays, I Rise in Flame, Cried the Phoenix (1941). Seen side by side in a new collection of his work, Dragon Country, the two plays - the former an account of an American artist's death abroad, the latter an account of D. H. Lawrence's death in France - make clear what has been frequently overlooked in Williams' work: a continuing preoccupation with the relationship and interdependence of life and art. That the dramatist has allowed them to be published together suggests that the two plays span the distance of Williams' entire career-journey, from its explosive beginnings in his belief in the life-force of the Lawrence an artist-hero to its whimpering end, or at least temporary rest-stop, in disillusion and even doubt concerning the validity of his art.
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