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  1. Williams interviews a straitjacketed Voorman in a locked room in the prison. Voorman calmly explains that he is a god, and that he created the world exactly nine days ago. He brushes off all the evidence to the contrary by saying he made evidence that the world was older including Dr William’s memories of a life.

  2. Williams interviews a straitjacketed Voorman in a locked room in the prison. Voorman calmly explains that he is a god, and that he created the world exactly nine days ago. He brushes off all the evidence to the contrary by saying he made evidence that the world was older including Dr William’s memories of a life.

  3. A doctor (Williams) is asked to examine a prisoner (Mr Voorman) who believes he is a god himself. Williams must decide the sanity of Mr Voorman, who becomes sceptical of the prisoner's insanity due to incidents.

  4. Most important, Williams identified with Crane as a homosexual writer trying to find a means of self-expression in a heterosexual world. Unlike Williams, Crane succumbed to his demons, drowning himself in 1932 at the age of thirty-three. Williams was influenced by Crane’s imagery and by his unusual attention to metaphor.

  5. What does Williams’s depiction of Blanche and Stanley’s lives say about desire? As its title indicates, A Streetcar Named Desire explores the destinations to which desire leads. In following their respective desires, Blanche and Stanley end up in very different places.

  6. Williams obviously meant the theme of desire to be prominent in his play since he put the word in the title. Several ideas about desire are communicated through Blanche and...

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  8. Within WilliamsA Streetcar Named Desire, Williams uses confrontation, whether it be gross physical acts of violation committed by Stanley, or that of psychological confrontation of Blanche's realities, to portray the ‘brutal desire’ that categorised the American South in 1947.