A Streetcar Named "Straight Bashing"

September 16, 2012

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Reprising a Makow Essential from 2007:  


Long before feminists portrayed men as rapists, Tennessee Williams depicted Stanley Kowalski in these terms. A Streetcar Named Desire shows how modern art is mind control.  An Illuminati Jewish producer and a gay playwright used theatre to subvert  family values. 






By Henry Makow Ph.D.


In my view, feminism and "homosexual rights" mask a heterophobic Illuminati campaign to shred the social fabric.

One of the most celebrated plays in American Literature, A Streetcar Named Desire (1947) depicts men as "subhuman", and heterosexual marriage and family as frauds.

The play, produced by Irene Selznick, contributed to the "modern" sense that human life has no inherent dignity, value or purpose. The play is an early example of how homosexuals, feminists and llluminati Jews subverted society by undermining heterosexuality. 

  

In "The New Victorians" (1996), Rene Denfeld writes that feminists regard heterosexuality as the model for all oppression and homosexuality as the remedy.

"For many of today's feminists, lesbianism is far more than a sexual orientation, or even a preference. It is, as students in many colleges learn, an ideological, political and philosophical means of liberation of all women from heterosexual tyranny..." (45)


MALE AS "SUBHUMAN"


Long before feminists portrayed men as rapists, Tennessee Williams depicted Stanley Kowalski in these terms.

Stanley drives his sister-in-law, Blanche DuBois, insane by raping her while his wife Stella is in the hospital bearing his son. Blanche is portrayed as a tragic heroine; Stanley as the symbol of a brutish male-dominated society; and the traditional family as a fraud.

Blanche DuBois has been driven out of her hometown for her immoral ways. Sick and broke, she takes refuge with her sister's archetypal traditional family.

Stanley, carrying the "red stained package from the butcher's" is the male protector and provider (Signet, p. 13).

The pregnant Stella, nurturing and malleable, is the epitome of the feminine. She believes in her husband: "it's a drive that he has" (50). The couple is madly, sensually in love.

There is a startling similarity between Tennessee Williams' homosexual perspective and the modern feminist one. As we shall see, guilt and self-loathing motivate both.

Blanche/Williams is determined to make heterosexuality appear pathological. Immediately on arrival, Blanche refers to Stella's home as "this horrible place." (19)

She reproaches Stella for not saving the plantation: "Where were you? In bed with your Pollack!" as if this were wrong (27).

When Stanley and Stella exchange blows, like a counselor at a womyn's shelter, Blanche urges Stella to leave her husband, open a shop, and become independent (67).

Stanley is genuinely repentant for hitting Stella although today this would be discounted as part of "the cycle of violence."

In fact, Blanche has made the pregnant Stella criticize and defy her husband for the first time. Now like her feminist sisters, the envious Blanche hopes the resulting violence will shatter the family altogether.

Stella ignores Blanche's appeals, and while cleaning says: "I'm not in anything that I want to get out of." (65). Blanche persists: "Stop! Let go of that broom. I won't have you cleaning up for him!" (66)

The feminist tone is again heard in Blanche's dehumanizing of Stanley.

"There's something downright bestial about him! ... He acts like an animal, has animal's habits! ... There's even something subhuman something not quite to the stage of humanity yet! Yes, something ape-like about him, like one of those pictures I've seen in anthropological studies."(71)

Can you imagine a modern play in which a man says this of a Jew, a woman, an African American or a homosexual?

Stanley overhears this conversation, yet this supposedly ape-like creature does not react violently. He patiently tolerates Blanche although she has been living in their two-room apartment for six months.

Blanche, a demented pitiable woman, assumes the mantel of progress and civilization.

"God! Maybe we are a long way from being made in God's image, but Stella my sister; there has been some progress since then! ... In this dark march toward whatever it is we're approaching . . . Don't hang back with the brutes!" (72)

At the end of the play, Williams has achieved his unconscious goal: destroying the heterosexual male and family. Stella must ignore her sister's claims of rape in order to preserve her family. "I couldn't believe her story and go on living with Stanley," she says (133). Nevertheless, her family is bereft of moral legitimacy. In the movie version, Stella becomes a single mother. She leaves Stanley vowing never to return.


tw.jpegHOMOSEXUAL SELF-HATRED

There is more to this picture than meets the eye.

First, Tennessee Williams often said that he was Blanche DuBois.

The similarities are clear. Like Blanche Dubois, Williams was neurasthenic, lusted for Stanley, and was very promiscuous.

In the play, Blanche warns herself not to seduce the newspaper boy, "I've got to be good and keep my hands off children."(84)

Second, Tennessee Williams hated himself. His friend Gore Vidal said: "He is still too much the puritan not to believe in sin. At some deep level, Tennessee believes that the homosexual is wrong and the heterosexual is right. Given this all pervading sense of guilt, he is drawn in life and work to the idea of expiation, of death." (Ronald Hayman, "Tennessee Williams: Everyone Else is an Audience," 1993. p.xviii)

The guilt-ridden Williams/Blanche wants to be destroyed by Stanley to expiate his sins. (Blanche calls Stanley "my executioner" before she even meets him.)

But, in this psychodrama, Williams doesn't have the integrity to confess his guilt feelings and admit his death wish. He postures as a hero by identifying Blanche's defeat with the cause of progress and culture. Thus he transfers to Stanley and society the hatred he feels for himself.

Robert J. Stoller, an eminent psychiatrist and UCLA Professor, described this process in his book, "Perversion: The Erotic Form of Hatred" (1975).

"Homosexuals, taught self-hatred in childhood, persist in attracting punishment because in part they agree with the cruel straight society; they provoke attack in order to be humiliated . . .Revenge energizes aspects of many homosexuals' behaviour, erotic and otherwise. In order to salvage a sense of value from the foci of despair, they must strike back at all who have qualities like old enemies of their childhood." (201-202)


CONCLUSION

Tennessee Williams' Streetcar Named Desire is an example of how the financial elite used a homosexual playwright to negate the family and twist the way heterosexuals think about themselves and society.

Since heterosexuals have derived their meaning from family roles for millennia, Williams contributed to the malaise that characterizes the modern era.

Williams' example indicates that this destructive impulse, which feminists share, may spring from a deep sense of envy, failure, and self-loathing.

Having missed the Streetcar of Life, they now want to blow up the tracks.







Comments for "A Streetcar Named "Straight Bashing""

Mariel said (September 17, 2012):

I was an English teacher and in particular taught Drama. I was the only teacher in our college who refused to use anthologies which had the "sickest" plays or stories in them,
particularly the ones featuring the mindless misery of the American South, such as in William Faulkner. I don't think I ever used a Williams play in class, probably was not in the
anthologies I used, and anyway, I think I felt as this article says--I felt it was too sick to use.

Because of the effect of my own college Drama teacher, I was fascinated with the Classics more than modern plays. But I did date a homosexual, who became a priest.
He was an actor in my college's plays. What a bunch of crap college was!


Tony Blizzard said (September 17, 2012):

"For many of today's feminists, lesbianism is far more than a sexual orientation, or even a preference. It is, as students in many colleges learn, an ideological, political and philosophical means of liberation of all women from heterosexual tyranny..."

Henry, I suppose this quote explains the forever media attacks on the Boy Scouts - both for denying homos as scout leaders and, oppositely, for the homos who sneaked in as leaders anyway and were later exposed - while the, for decades now, totally lesbian Girl Scouts are never, ever even mentioned in the media except to promote as a great experience for young girls.


Richard said (September 17, 2012):

Nearly every drama we saw on television and movies in the 20th century, were written and acted by queers and perverts.

My first semester of college I had a part in a college production of the 1938 play 'Our Town' by Thornton Wilder. The play was so depressing that it affected my relationship with my girlfriend. The play makes fidelity, marriage, family, ancestors, and small town American life seem like Purgatory or Hell.

When I was in the play, we weren't informed that the play was banned in the Stalinist Soviet Union since 1946 on the grounds that it was too depressing and could inspire suicides. But we also weren't informed that Thornton Wilder was not only a queer, but into sadomasochism too.
I also wasn't informed that 'Our Town' was heavily influenced by Gertrude Stein's novel The Making of Americans.

That's because Wilder was a closet-queer his entire life, as was necessary for celebrities in those days. Now we know about it from the revelations of the homosexual-lesbian underground which included among his confidants Gertrude Stein. Wilder was the son of a United States diplomat to China...


Dan said (September 17, 2012):

When I was growing up in the 1960's we didn't know that most movie 'leading men' and nearly ALL television actors were bull fruits. We didn't know that Hollywood writers were also a bunch of queers that followed the example Marcel Proust and Nabokov - who passed off homosexual romance stories by merely turning the 'bottom' into a female character. That's how they mainstreamed homosexual relationship dynamics by passing their queer memoirs off as heteronormativity. Self-hate in queers is often flipped outward toward hatred of complementary genders (man and woman) with natural, God-given roles in life. Queers want to give heterosexuals a 'makeover', like in the TV show 'Queer Eye for the Straight Guy'.

Decades of producing 'crypto-queer' movies and literature to 'gay up' heterosexual relations has actually backfired on them, most notably with the imposition of 'gay marriage' as a supposed queer-lesbian goal.

Andy Warhol said he both admired and pitied drag queens because their entire lives were consumed with being something they aren't.

Let's be honest. Homosexuality rides on sex addiction (no pun intended). Only homosexuals, lesbians, pedophiles and perverts confuse social restrictions on lust with 'political oppression'.


Lisa said (March 1, 2007):

My 17-year-old daughter met a boy at a party. He was homeless at the time, hadn't slept or eaten in days. She told him that she had it good and that he could come home with her, that she would give him a place to stay, food to eat, and share what she had with him. He has lived with us for nearly a year. We all were talking the other day, and he said that he couldn't believe how much he had changed in a year. He gets up, goes to work, is off the drugs, and is a totally different person than he used to be. He even has a little money in the bank, which he is saving so that they can have a place of their own. "You believed in me," he told her the other day, "and doing THIS for you makes my life worthwhile." THIS is what the elite's subversive plot is exactly trying to destroy, the male-female relationship which our creator put in place. Look around, people are being freed from these roles and are more miserable than ever.

Gays are not shunned; they are cool! Turn on MTV! There are gays and bisexuals even in my daughter's middle school. Young people are conditioned to accept this as normal, as trendy, and as cool.... to accept this way of life and turn away from the ways of their God, and many "Christians," by not understanding what is REALLY going in, are driving them away from their God instead of to him; thus furthering the Satanist's agenda. They are the target generation, to accept the NWO and know nothing of their God and His ways. So that when the time comes, they will be so miserable within and HATE their God that made them, that they will accept the New World Order without complaint... and perhaps receive "the mark" of the Beast (gov't implant). It is for this generation that we speak, not ourselves.


Dan said (February 28, 2007):

The thought that Williams identified himself with Blanch just shows what a sick puppy he was.That's just bent. And this is one of the "American
Masters" of literature. Gay writers invariably write about nothing that doesn't involve and justify their sexual proclivity. It's obsessive.

The damage is caused when they have this need to turn the world gay through their subversive literature--most insidious in Williams (also Nabakov)who were queers that masqueraded their novels in terms of male / female dynamics--when they were in fact writing their gay fantasies.
Yes, that was part of the psyop twisting public perception of 'gender relations'.

In reality, what does a homosexual have to say about male/female dynamics? that means Blanche is really a male character, a drag queen.
And Stanley can't be a model of a heterosexual man, coming from a homosexual writer, Stanley can only be the model of a homosexual in 'denial'. A 'butch'.

This shit has been palmed off as a valid statement on heterosexual relations in the 1950's.


Phiam said (February 27, 2007):

Why do an analysis of gender roles on a 60 year old story that is not relevant to contemporary society at all?

Pick up a People magazine, women are not fearful of men as rapists, they fawn over men. Mr. & Mrs. Smith is probably a more relevant and culturally charged story to discuss heterosexual roles. The problem is you have to reach back to a 60 year old understanding of feminism and
homosexuality to justify your campaign to save the males.

No wonder Tennessee Williams was self loathing, he was raised in a culture that deemed homosexuality a mental and moral disorder. If there was such a consipracy to convert people to homosexuality wouldn't at least one of Hollywood's many long term male couples have ben invited to walk down the red carpet? Instead gay males are still shunned thanks to the bigoted and ignorant who still promote the idea that the sight of two men together is an assault on religion and personal identity.

Lesbians are fine because that fits a heterosexual male fantasy.

This false declaration of an attack on heterosexual men is used a the justification to beat gay men to death in every country in the world. I suppose we gays should just hush up since its now unlikely that we will be lynched for loving one another in the good ole USofA. Gays don't have problems with heterosexuals, most of us are born to heterosexual families. You are our mothers, fathers, sisters, and brothers. Stop this uncontemporary and senseless lie.

---

P- This novel is taught in every American lit class so it is still relevant and illustrates how literature is often used as propaganda. You must be living in a cave if you can''t see that the elites are using homosexuality to undermine heterosexuals. Gay activists don't seek "tolerance"; they want compliance. This week, the local university is holding a "question your gender" campaign. What's that all about?
Why are they trying to convert heterosexuals?

Straights need to realize that every attack is disguised as an act of self defence. I have nothing against responsible gays, just the financial elite sponsored homosexual agenda.

Henry


Ben in Melbourne said (February 27, 2007):

As paradoxical as it may sound, sometimes I think I'd be more attractive to modern 'women' if I was a homosexual, or even acted like one. The
'liberated' and conniving trash that pass-off as womanhood these days want to be in complete control; 'tis easier for them to dictate terms to a soft,self-loathing and genderless debaucher. Have homosexuals and feminists ever heard of the family unit? The fact is, though, that the women that are attracted to those creatures (I won't call them men) are not real women.

They are best ignored and left to rot in their own psychological prison cell untill they are too old to have children. Then they can spend the rest of their lives in regretful misery just like their homosexual allies, while still lying to their peers about how 'successful' they've been in NOT having a family or finding REAL love. A real woman is loving, nurturing,graceful and not overly opinionated; these are some of the things that make her truly happy. I don't see many real women in western society. If a 'woman' ever asks you to become overly 'sensitive', or asks you to do anything that you'd consider emasculating, show her the door and lock it;she hasn't met the parameters, and is unfit to be a loving partner.


Guy in UK said (February 27, 2007):

Interesting about that - in my acting days I got very familiar with Tennessee William's material, and I still appreciate his late 40s to early 60s plays - he was a master of the well-made play and a real poet, but of course, it was part of an incremental shattering of civilised society as you describe. Another aspect of his lead males were that they were narcissistic, sensitive �outsiders� - in real life this type are usually selfish, destructive brutes (as the private lives of the actors who portrayed these kind of characters - Marlon Brando, with his abortionists on retainer, and James Dean, �the human ashtray� etc - show.)

Tennessee Williams was the epitome of a delicate, mother dominated aesthetic type which occurs over and over again in the Arts, from Oscar Wilde and Andre Gide and James Baldwin down � they have a love of handsome criminal thugs, and an alarming tendency to get beaten and robbed by them (and occasionally murdered.)

So I suppose Williams contributed to the narcissistic infantilising of the western male as well as the brutalization. No wonder he spent the last years of his life in a drunken stupor!


Henry Makow received his Ph.D. in English Literature from the University of Toronto in 1982. He welcomes your comments at