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One of the delights of Woody Allen’s recently released memoir, Apropos of Nothing, is its celebration (all too-brief, alas) of Tennessee Williams. “I always wanted to be Tennessee Williams,” Allen writes. “I grew up idolizing [him]. The movie of Streetcar is for me total artistic perfection… the most perfect confluence of script, performance, and direction I’ve ever seen.” I wanted to be Tennessee Williams, too, when I discovered his works at age 18. And I’ve been a Woody Allen fan since seeing the Jazz-age romantic fantasy A Purple Rose of Cairo when it was released a year later, in 1985. Yet only with

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