subject as a man who was always committed to his art. It is a pity that Bak could not have captured at least a glimpse of that other, laughing, Tennessee Williams. This, however, is a small concern that in no way detracts from the valuable contributions that this book makes to furthering the scholarship around Tennessee Williams. Importantly, the reanalysis and reassessment of the postIguana years will do much in terms of reclaiming aspects of Tennessee Williams’s literary reputation. Bak’s book will be invaluable to Tennessee Williams scholars but will also be of interest to a variety of academics working in a range of fields including modern American theatre aesthetics, literary theory, and cultural studies as well as, of course, anyone with more than a passing interest in understanding the artistry of this iconic playwright.

中文翻译：

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艾拉·奥尔德里奇：伯恩斯·林德福斯的《早年，1807-1833 年》和： 艾拉·奥尔德里奇：伯恩斯·林德福斯的《流浪者岁月》，1833-1852 年，以及：艾拉·奥尔德里奇：伯恩斯·林德福斯的《艾拉·奥尔德里奇：在欧洲表演莎士比亚》，1852-1855 年

作为一个始终致力于他的艺术的人。遗憾的是，巴克至少无法瞥见另一个笑着的田纳西威廉姆斯。然而，这只是一个小问题，但绝不会减损本书对促进围绕田纳西威廉姆斯的学术研究所做的宝贵贡献。重要的是，对后鬣蜥时代的重新分析和重新评估将在恢复田纳西威廉姆斯文学声誉的各个方面起到很大作用。巴克的书对田纳西威廉斯的学者来说是无价之宝，但也会引起在现代美国戏剧美学、文学理论和文化研究等一系列领域工作的各种学者的兴趣，当然，任何拥有超过对了解这位标志性剧作家的艺术性产生了兴趣。