By Trudy A. Martinez
When reading The Glass Menagerie, one feels pity for Tom because his mother mistreat him; this is such a tragedy. She places the entire responsibility of the family upon his shoulders, as if to fulfill a fallacy: There has to be a man in the house if woman is to survive. Time changes with the World War, allowing women to enter the work force. However, Tom’s mother does not work, nor does she seek finding suitable work herself as a means of remedying their situation. Instead, she lives in an imaginary world, wanting her children to remedy the situation for her; she wants only to continue living her fantasy. The picture of the father symbolizes this obsession; it hangs in a most advantageous place: above them all–forever smiling.
The smiling father serves to remind Amanda of a tragic mistake. Yet, it is her “hawk like attention” at the dinner table, driving her son, which mostly catches a reader’s attention. How can anyone eat in peace with someone telling him or her how? “. . . Don’t push with your fingers . . . And chew—chew . . . Eat food leisurely, son” is Amanda’s dinner conversation (Williams 1464). It is surprising; Tom does not get indigestion. One might say, it is the mother’s place to correct her children; but Tom is not a child. Amanda obviously marries beneath her class structure as not many lower class bother to stress “[Eating] food leisurely” (Williams 1464). The lower classes are like slaves to the bourgeois; they are fortunate to have time to eat at all, much less leisurely. Tom refers to being a slave to his mother’s legacy during an argument with her. However, the children’s actions are a constant disappointment and never satisfying to the mother; she pre-judges them as failures. Even so, she is never discourages them from fulfilling goals for her through them.
On the other hand, the opposite is true of her offspring; both Tom and Laura are discouraged. They reject the goals their mother sets. What a tragedy Amanda cultivates through her constant search for perfection from her children. Her aggressive behavior to the fulfilling of her own goals (remaining in the past–her imaginary world– and regaining a higher status) has a reverse effect upon her children. This reflects her constant referral to “gentlemen callers” and through her fear of Tom not attaining higher money earning status and Laura not attaining a money earning status at all. She reminds Laura to “. . . study your typewriter chart . . . [and] . . . practice your shorthand . . .” While at the same time stating”, Stay fresh and pretty” [for men callers]! (Williams 1466). Knowledge is that “. . . aggression given full rein and allowed to run its course in a constant war of all against all, [jeopardizes] . . . survival. . . Clashing interests and social values underlie . . . human conflict” (Vander Zanden 370). Amanda’s clashing interest and aggression is not an exception. Her interest clearly clashes with the interests of her children. She lives only in the memory of her “social roots” where “charm” and an aggressive nature rein in the bourgeois class, a hierarchical structure she secretly wants to re-gain. Nonetheless, by seeking to regain her privilege status through her children, she becomes her own gatekeeper.
When Amanda makes herself the gatekeeper, she becomes susceptible to fate. The theme of The Glass Menagerie is one of vulnerability. What constitutes this concept? When one is vulnerable, are they not both trusting and unsuspecting? This is not the case with Amanda; she is suspicious and non-trusting. She flaunts her suspicious and non-trusting nature in the direction of her son by way of her continual interrogations, assumptions, and comparisons: “I think you’ve been doing things that your ashamed of . . . Nobody in their right minds goes to the movies as often as you pretend to . . . You remind me of your father [gone]” (Williams 1478-1492). Therefore, considering her vulnerable cannot be because of any action of Tom’s. His action only brings about the inevitable.
The inevitable came only after imagination came into conflict with reality. The breaking of the glass unicorn symbolizes the shattering of imagination by reality. Jim, the only realistic character in the play, is the one who bears a message of truth. He says, “Being disappointed is one thing and being discouraged is something else” (Williams 1498). However, it is not until the unicorn loses its horn that Laura is able to accept the Glass Menagerie for what it is: a collection of ornaments. The glass pieces represent an imaginary world where she is willfully imprisoned. At this point, her disappointment no longer discourages her. She is accepting of the realization that not only is the unicorn now like all the other glass ornaments but she is like everyone else. She is no longer a failure as her mother describes; she does not need to rely on imagination or deception to feel she is special. Her mother implies, “All pretty girls are a trap, a pretty trap, and men expect them to be” (Williams 1486). Laura’s perception of the situation differs. She acknowledges the difference when she says, “Maybe [breaking the unicorn’s horn off] is a blessing in disguise” (Williams 1502). Then later, she gives the unicorn that has lost its uniqueness to Jim as a souvenir.
Not long before, her brother gives Laura a souvenir, “. . . a shimmering, rainbow-colored scarf . . . Tom had told her that it was a ‘magic scarf’.” All “You [have to do is] wave it over a gold-fish bowl and they [will] fly away canaries…” (Williams 1474).
The goldfish bowl is symbolic of the life Tom and Laura live in “human desperation” (Williams 1463) under the unchallenged hierarchy of their mother. Whereas, the “fly away canaries” suggest both Tom and Laura can turn into songbirds and fly away to escape from their mother’s tyranny. All it will take to make it happen is for Laura to wave the “magic scarf”. However, had Laura waved the scarp when she emerged from her imaginary world or Had Tom flew away too soon?
Tom shares with Laura his desire to leave so she is aware of his intent; she does not become vulnerable because he leaves. Instead, Tom is the vulnerable one because he flies away like a songbird without facing reality. He does not learn that “So long as boundaries and hierarchies go unchallenged, aggression is inhibited” (Vander Zanden 371). Tom is too trusting and unsuspecting of his own purpose. Therefore, he is unable to take an aggressive stand in his own freedom. Consequently, he becomes “. . . lost in space–” (Williams 1507).
In Tom’s time space, his memories pursue him and his imagination takes control. The most amazing thing he sees is when a magician “. . . got [himself] out of the coffin without removing one nail”. Tom wants to do the same. He tells Laura, “. . . it don’t take much intelligence to get yourself into a nailed-up coffin . . . But who in hell ever got himself out of one without removing one nail?” (Williams 1474).
There is the constant reminder of his father’s smiling face that serves as a reminder: “If there is a will, there is a way”. Even so, did Tom find the way by leaving when he did? Alternatively, does he carry on the family legacy? He appears to have a nail stuck in his heart, which keeps him imprison in a coffin (a trap) of his own making, an imaginary world where he envisions the “tiny transparent . . . ‘colored glass’ . . . bottles . . . [as] . . . bits of [his] shattered rainbow”(Williams 1507). The shattered rainbow is symbolic of the “magic scarf” he gives Laura. His mother tells him he manufactures illusions! (Williams 1507). Yet, he does not challenge her position.
Consequently, he follows in her footsteps manufacturing illusions just as she did. As a result, he makes his own tragic mistake. If this is not the case, why does he continue to search for escapes or “–anything that [can] blow . . . out [the memories of Laura] “? (Williams 1507). The memories of Laura remind Tom of his tragedy just as the picture of his father’s smiling face serves to remind his mother of her own.
Williams, Tennessee. “The Glass Menagerie”. The Bedford Introduction to Literature.Michael Meyer, ed. Bedford Books of St. Martin’s Press: Boston. 1990. 1462-1507.
Vander Zanden, James W. Social Psychology. Fourth Edition. Ohio State University. Random House: New York. 1987.