Chapter 7, “Afterlife: Into the Twenty-first Century,” looks at Williams’s legacy. Ibell examines the controversial self-appointment of Williams’s longtime friend, Maria Britneva, as literary executor of the playwright’s estate. He argues that the lack of attention to Williams’s later works was, for many years, a result of Britneva’s excessively strict control. After her death, in 1994, however, the lesser-known plays became more accessible to producers and scholars. Ibell highlights many of the theatre companies and artists who have championed these works. Overall, this concise biography is an excellent resource for students and scholars seeking an informed introduction to the relationship between Williams’s life and his work. Although Ibell often privileges autobiographical connections and chronology over detailed text analysis, his book is an engaging and sophisticated survey of Tennessee Williams as one of America’s greatest playwrights.

中文翻译：

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民主实验：美国剧院的跨种族和跨文化交流，1912-1945 年版。作者：谢丽尔·布莱克和乔纳森·山德尔

第 7 章“来世：进入 21 世纪”着眼于威廉姆斯的遗产。伊贝尔审视了威廉姆斯的老朋友玛丽亚·布里特涅娃 (Maria Britneva) 被任命为剧作家遗产的文学执行人这一有争议的自我任命。他认为，多年来，人们对威廉姆斯后期作品缺乏关注是布里特涅娃过度严格控制的结果。然而，在她 1994 年去世后，鲜为人知的戏剧变得更容易为制片人和学者所接受。伊贝尔重点介绍了许多支持这些作品的剧院公司和艺术家。总体而言，这本简明的传记是学生和学者的绝佳资源，他们希望了解威廉姆斯的生平与他的工作之间的关系。尽管 Ibell 经常将自传联系和年表置于详细的文本分析之上，