Menagie
The Impossibility of True Escape
At the beginning of Scene Four, Tom regales Laura with an account of a magic show in which the magician managed to escape from a nailed-up coffin. Clearly, Tom views his life with his family and at the warehouse as a kind of coffin—cramped, suffocating, and morbid—in which he is unfairly confined. The promise of escape, represented by Tom's missing father, the Merchant Marine Service, and the fire escape outside the apartment, haunts Tom from the beginning of the play, and in the end, he does choose to free himself from the confinement of his life.
The play takes an ambiguous attitude toward the moral implications and even the effectiveness of Tom's escape. As an able-bodied young man, he is locked into his life not by exterior factors but by emotional ones—by his loyalty to and possibly even love for Laura and Amanda. Escape for Tom means the suppression and denial of these emotions in himself, and it means doing great harm to his mother and sister. The magician is able to emerge from his coffin without upsetting a single nail, but the human nails that bind Tom to his home will certainly be upset by his departure. One cannot say for certain that leaving home even means true escape for Tom. As far as he might wander from home, something still “pursue[s]” him. Like a jailbreak, Tom's escape leads him not to freedom but to the life of a fugitive.
The Unrelenting Power of Memory
According to Tom, The Glass Menagerie is a memory play—both its style and its content are shaped and inspired by memory. As Tom himself states clearly, the play's lack of realism, its high drama, its overblown and too-perfect symbolism, and even its frequent use of music are all due to its origins in memory. Most fictional works are products of the imagination that must convince their audience that they are something else by being realistic. A play drawn from memory, however, is a product of real...
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