The Glass Menagerie (Critical Article #1)

Journal of the American Psychoanalytic Association http://apa. sagepub. com Tennessee Williams: The Uses of Declarative Memory in the Glass Menagerie Daniel Jacobs J Am Psychoanal Assoc 2001; 50; 1259 DOI: 10. 1177/00030651020500040901 The online version of this article can be found at: http://apa. sagepub. com/cgi/content/abstract/50/4/1259 Published by: http://www. sagepublications. com On behalf of: American Psychoanalytic Association Additional services and information for Journal of the American Psychoanalytic Association can be found at: Email Alerts: http://apa. agepub. com/cgi/alerts Subscriptions: http://apa. sagepub. com/subscriptions Reprints: http://www. sagepub. com/journalsReprints. nav Permissions: http://www. sagepub. com/journalsPermissions. nav Citations http://apa. sagepub. com/cgi/content/refs/50/4/1259 Downloaded from http://apa. sagepub. com at CALIFORNIA DIGITAL LIBRARY on September 9, 2009 jap a Daniel Jacobs 50/4 TENNESSEE WILLIAMS: THE USES OF DECLARATIVE ME MORY IN THE GLASS MENAGERIE Tennessee Williams called his first great work, The Glass Menagerie, his â€Å"memory play. The situation in which Williams found himself when he began writing the play is explored, as are the ways in which he used the declarative memory of his protagonist, Tom Wingfield, to express and deal with his own painful conflicts. Williams’s use of stage directions, lighting, and music to evoke memory and render it three-dimensional is described. Through a close study of The Glass Menagerie, the many uses of memory for the purposes of wish fulfillment, conflict resolution, and resilience are examined. T he place: St. Louis, Missouri.The year: 1943. Thomas Lanier Williams, age thirty-two, known as Tennessee, has returned to his parents’ home. He has had a few minor successes. Several of his shorter plays have been produced by the Mummers in St. Louis. For another, staged by the Webster Grove Theater Guild, he was awarded an engraved silver cake plat e. He has retained Audrey Wood as his literary agent and with her help had several years earlier won a Rockefeller fellowship to support his writing. But Williams’s Fallen Angels bombed in Boston the previous summer.Its sponsor, the Theater Guild, decided not to bring the play to New York. Since obtaining a B. A. from the University of Iowa in l938, Williams has been broke more often than not. He has no home of his own. He’s led an itinerant existence, living in New Orleans, New York, Provincetown, and Mexico, as well as Macon, Georgia, and Training and Supervising Analyst, Boston Psychoanalytic Society and Institute; faculty, Massachusetts Institute for Psychoanalysis; Assistant Clinical Professor of Psychiatry, Harvard Medical School.Submitted for publication October 12, 2001. Downloaded from http://apa. sagepub. com at CALIFORNIA DIGITAL LIBRARY on September 9, 2009 Daniel Jacobs 1260 Culver City, California. He has subsisted on menial jobs—waiting tables, op erating an elevator, ushering at movie theaters—tasks for which he is not f itted and from which he is often f ired. His vision in one eye is compromised by a cataract that has already necessitated surgery. And just before moving back home from New York, he was beaten up by sailors he took to the Claridge Hotel for a sexual liaison.Arriving home in 1943, Tennessee f inds many things unchanged: his parents, Cornelius and Edwina, remain unhappily married and their bitter quarrels f ill the house. Williams must again deal with the father he despises. Tennessee is pressured by Cornelius, who opposed his return home, to f ind a job. If Tennessee will not return to work at the International Shoe Company, as Cornelius advises, then he must earn his keep by performing endless domestic chores. But it is the changes in the family that are even more troubling. Williams’s younger brother Dacon is in the army and may be sent into combat after basic training.His maternal grandparent s have moved in because Grandma Rose, now conf ined to an upstairs bedroom, is slowly dying. Most important of all, Tennessee’s beloved sister, also named Rose and two years older than he, is no longer at home. She has in fact been at the State Asylum in Farmington since l937. Diagnosed schizophrenic, she has recently undergone a bilateral prefrontal lobotomy to control her aggressive behavior and overtly sexual preoccupations. During this stay at home, Williams visits Rose for the f irst time since her surgery.He f inds her behavior more ladylike, but she remains clearly delusional. The lobotomy, Williams realizes, was â€Å"a tragically mistaken procedure† that deprived her of any possibility of returning to â€Å"normal life† (Williams 1972, p. 251). â€Å"The poor children,† he will write of his St. Louis childhood, â€Å"used to run all over town, but my sister and I played in our own back yard. . . . We were so close to each other, we had no need o f others† (Nelson 1961. p. 4). Now, for Tennessee, Rose is irretrievably lost except as a memory, alternately recalled in pain and shut out in self-defense.Williams cannot abide his situation, thrown amid his parents’ bitter quarrels, the slow death of his grandmother, and the terrible absence of his sister. His only escape: the hours of writing he does every day in the basement of the family home. Here, between washing garage windows and repairing the gutters on the back porch, he writes the â€Å"memory play† that he f irst calls The Gentlemen Caller and then Downloaded from http://apa. sagepub. com at CALIFORNIA DIGITAL LIBRARY on September 9, 2009 DECLARATIVE MEMORY IN THE GLASS MENAGERIE The Glass Menagerie.The play is a brilliant, profound, and intricate study of declarative memory and its psychological uses. DECLARATIVE MEMORY Declarative memory is the system that provides the basis for conscious recollection of facts and events. But this system, we know, is not just a warehouse of information, of veridical memories of actual happenings that can be retrieved at will. Rather, like an autobiographical play, declarative memory is a creative construction forged from past events and from the fears, wishes, and conf licts of the one who is remembering.As Schacter (1995) notes, â€Å"The way you remember depends on the purposes and goals at the time you attempt to recall it. You help paint the picture during the act of recalling† (p. 23). It was just this complex and creative aspect of memory formation that led Freud (l899) to write that â€Å"our childhood memories show us our earliest years but as they appeared in later periods when memory was aroused† (p. 322). The stories we tell of our lives are as much about meanings as they are about facts. In the subjective and selective telling of the past, our histories are not just recalled, but reconstructed.History is not recounted, but remade. Williams understood this when he wro te, in the stage directions of The Glass Menagerie, that â€Å"memory takes a lot of license, it omits some details, others are exaggerated to the emotional value of the article it touches, for memory is seated predominantly in the heart† (p. 21). Williams has Tom Wingf ield, the play’s protagonist, tell us this. In his opening speech, Tom is both creative artist and unreliable rememberer: â€Å"I have tricks in my pockets. I have things up my sleeve. . . . I give you truth in the pleasant guise of illusion† (p. 2). In this way, Williams warns us from the play’s beginning that memory is a tricky business—f ickle, changeable, susceptible to distortion and embellishment, but always true to the current emotional needs of the rememberer. This paper is an exploration of the emotional needs of the rememberer—of Tom Wingfield, the rememberer in the play, and Tom Williams, the rememberer as writer. Williams could have chosen any f irst name for his protagonist. He chose his own to emphasize the loosening of boundaries between fact and f iction.It is as though he is telling us that autobiography—which is, after all, organized declarative memory—is Downloaded from http://apa. sagepub. com at CALIFORNIA DIGITAL LIBRARY on September 9, 2009 1261 Daniel Jacobs 1262 an elaborate f iction based on facts. And that f iction (the creative use of memory) is at its heart emotional autobiography. Both Tom Wingf ield and Tom Williams carry a burden of guilt for leaving the family, especially a disabled sister, and have a need to justify their behavior through the use of recollection.Both Toms live with deep sorrow alongside a wish to retaliate against loved ones who have disappointed them. Remembering is for both Toms, as for all of us, a coat of many colors, worn to set us apart from others as well as link us to them, to justify our choices, to take revenge on others, to compete with them, to kill them once again, or to resur rect them from the grave. The distortions and selective uses of memory are as manifold as the needs of the rememberer. Williams endows each character in his play with his or her own dynamic uses of memory.Amanda can escape the harshness of her current situation by evoking memories of a triumphant past. She is like a patient Kris (l956b) describes who â€Å"while the tensions of the present were threatening . . . was master of those conjured up in recollection† (p. 305). Amanda’s use of memories is aggressive as well, used as a weapon against her husband and children. In constantly contrasting the memories of a happy youth with the unhappiness of her marriage and the bleakness of her children’s lives, her anger and competitiveness take a brutal form. Unlike Amanda, her daughter Laura, who is crippled, has relatively few memories.But the memory of Jim, the gentleman caller, provides her a modicum of comfort. In a pale and pathetic imitation of her mother’s recollections of a house f illed with jonquils, she recalls that Jim gives her a single bouquet of sorts, the sobriquet â€Å"blue roses. † It is a nickname derived from his psychologically intuitive misunderstanding of the illness â€Å"pleurosis,† which had kept Laura out of school. She cannot compete with her mother in the fond memory department and retreats to the concrete but fragile satisfactions of her glass menagerie, where memory and imagination are safely stored—until Jim arrives.The gentleman caller is a man who lives in the present and seems to have little use for the past. It is the future to which he looks. In fact, one feels that memory of his high school greatness are both a satisfaction and a threat to him. For he, like John Updike’s Harry Angstrom (1960) will never experience the glory days of the past. He says as much to Laura: â€Å"But just look around you and you will see lots of people disappointed as you are. For instance, I had h oped when I was going to high school that I would be further along at this time, six years later, Downloaded from http://apa. agepub. com at CALIFORNIA DIGITAL LIBRARY on September 9, 2009 DECLARATIVE MEMORY IN THE GLASS MENAGERIE than I am now. You remember that wonderful write-up I had in ‘The Torch’ † (p. 94). While Amanda revels in her triumphant past as a way of dealing with the present, Jim runs from his into the future. Seeing in the crippled Laura some aspect of his own feared limitations, he tries to help her overcome hers through encouragement and f inally a kiss. His inability to help her in the end may be a harbinger of his own failures.MEMORY AND LOSS Williams was aware also that declarative memory is paradoxical in that it resurrects and keeps alive in the present what is dead and gone forever. Referring to this paradoxical aspect of memory, he wrote that â€Å"when Wordsworth speaks of daffodils or Shelley of the skylark or Hart Crane of the delica te and inspiring structure of the Brooklyn Bridge, the screen imagism is not so opaque that one cannot surmise behind it the ineluctable form of Ophelia† (Leverich 1995, p. 536). The very presence of memory implies loss.Memory, if you will, is the exquisite lifelike corpse that both denies and acknowledges what has passed away. There is for all of us that double vision that memory imparts, one that at once has the capacity to help and to hurt. Declarative memory provides coherence and direction to our lives, but also reminds us that our path inevitably leads to disintegration and death. The daffodils recollected in tranquility are, at the same time, Ophelia’s garland. Amanda Wingf ield’s recollection of her past social triumphs only reminds us of how much time has passed and how many hopes have been dashed.Laura’s attachment to the happy memories of childhood innocence represented by her glass menagerie only makes harsher the realities of her adult life an d the bleakness of her future. Laura and Amanda are represented as having a choice between the infantile omnipotence of their past or a feeling of victimization in the present. When Amanda stirs up old memories as a hedge against the painful present and uncertain future, they are only partially effective. For the contrast between past and present, and the knowledge that what is past will never come again, lead only to further depression and anxiety (Schneiderman 1986).Similarly, behind Tom the protagonist’s memory of Laura at home lies, for Tom the author, the real Rose in a current state of institutionalized madness. Downloaded from http://apa. sagepub. com at CALIFORNIA DIGITAL LIBRARY on September 9, 2009 1263 Daniel Jacobs MEMORY AND RESILIENCE 1264 Davis (2001) points out the contribution declarative memory can make to resilience â€Å"through soothing af fects that are evoked in recalling a declarative memory of a loving relationship with a parent or other important pe rson† (p. 459).Such memories can grow directly out of warm relationships or â€Å"they can be achieved through retrieving and modifying memory of more problematic attachments† (p. 466). Davis illustrates his point with the example of Mr. Byrne, a subject in a longitudinal study of adult development. Davis focuses on the fact that in interviews at different times in adult life, Mr. Byrne’s memories of his father changed. At age forty-six, surrounded by a supportive community and family, Mr. Byrne had no memories of his alcoholic and neglectful father and did not think his father’s being a f ireman had inf luenced his own decision to become one.At sixty-six, retired and with his children grown, Mr. Byrne â€Å"had succeeded in ‘f inding’ his father inside as a sustaining inner object in declarative memory (p. 465). He did so through creating or retrieving warm memories of their times together in the f irehouse and by ‘misrememberingâ€⠄¢ the humiliating events of his father’s death so as to have a more positive image of him. Mr. Byrne’s father had committed suicide, alone and away from the family. But late in life, Mr. Byrne spoke frequently of his father’s having taken him to the f ire station when he was a youngster.He was now sure these happy times with his father had inf luenced his decision to become a f ireman himself. He placed his father’s death in a family setting and claimed to have been the one who found him. Davis points out that we often create the memories we need in order to maintain psychological resilience and mental health. Whatever good experiences Mr. Byrne did have with a diff icult and neglectful father seem to have been magnif ied through the lens of memory aided by imagination in the service of wish fulf illment.It is an example of what Kris (1956a) meant by describing autobiographical memory as telescopic, dynamic, and lacking in autonomy: â€Å"our autobiogra phical memory is in a constant state of f lux, is constantly being reorganized, and is constantly being subject to the changes which the tensions of the present tend to impose† (p. 299). In a way, Williams does the same thing by creating a memory play. Lonely, guilty over his sister’s fate, f inding St. Louis and his family unbearable, Williams begins writing a play that both ref lects his current Downloaded from http://apa. sagepub. om at CALIFORNIA DIGITAL LIBRARY on September 9, 2009 DECLARATIVE MEMORY IN THE GLASS MENAGERIE suffering and at the same time assuages it. In writing The Glass Menagerie, he creates for himself one of those delicate glass animals— a small tender bit of illusion that relieves him of the austere pattern of life as it is lived in the present and makes it more bearable. He does so not by setting his play in the harsh realities of the present, too painful to write about, but in creatively altered memory. Sitting at his writing table, Wil liams reclaims his sister (Laura in the play) from the State Asylum and places her at home again.She is not frankly delusional and lobotomized. She is not even in Rose’s presurgical state of illness—a state of aggressiveness and talkativeness made worse by utter and unending vulgarity. Instead, she is portrayed as painfully shy, weak, and schizoid. And Cornelius, the real-life father he must face daily, is gone. Gone from the play for dramatic purposes to be sure: the play would lose a certain edge were there another breadwinner in the house. But in the play, Williams expresses his wish to reconstruct reality and, in this play of memory and desire, rid himself of the old man.Yet he is not entirely gone, for the father’s picture hangs on the wall, like Hamlet’s ghost, reminding us of a son’s ambivalent longing for a father. For in 1943 and throughout his life, Williams longed for some man to comfort and help him. In the play, his own wish for a supp ortive, loving father is transformed into the wish for the gentleman caller—someone who, unlike his father, will help Laura, satisfy Amanda, and, by his assuring presence, bless Tom’s own departure. He is not only the person Williams longs for, but also the one he longs to be, though he knows it is a role he can never play.It is no accident then that Jim, the gentleman caller, conveys an uncomfortable uncertainty about his future. He is, in a sense, the failed high school â€Å"hero,† with perhaps unrealizable dreams for the future. Jim already hints that the realities of life may not meet his expectations. He expresses resentment at having to work at two jobs: his work and his marriage, in which he has to â€Å"punch the clock† every night with Betty. He is f lirtatious with Laura, even going so far as to kiss her, showing a clear sympathy and attraction to women other than his f iancee.Tennessee’s father, a bitter man from a prominent Southern fa mily, a heavy drinker and a womanizer, while banned from the play, haunts it through his portrait and is resurrected in the f lesh in Jim, who is likewise disappointing and cannot be counted on and who, in the future, may come to resemble Cornelius. In his own life, Williams found and lost gentlemen callers hundreds of times over. And when he was Downloaded from http://apa. sagepub. com at CALIFORNIA DIGITAL LIBRARY on September 9, 2009 1265 Daniel Jacobs ot looking for the gentleman caller, he was being one, abandoning and disappointing those who loved him. The only one he was truly faithful to was Rose. Memories are like dreams or fantasies in that all the characters remembered at a particular moment may represent aspects of the rememberer’s own personality. Amanda’s steely will to survive is ref lected in Tom’s stubborn insistence on leaving. Laura’s fragility and submissiveness are what he must try to get away from in himself. Jim is the artist manque , the average joe Tom fears he will become if he doesn’t leave. THE STAGING OF MEMORY 1266Through the very structure of his play and the physical placement of its characters, Williams shows us that we cannot have a past without a present or a present uninf luenced by the past. He takes us back and forth in time as Tom Wingf ield literally steps in and out of the railroad f lat of his memory. He both ref lects on his past and participates in it, as his memories come alive. All the play’s characters slip in and out of memory, from present to past and back again, as they interact with one another, forging their current identity and present relationship in the anvil of a past they selectively remember.The stage set that Williams proposed concretizes the alternating forward and backward movement of time that takes place in the characters’ and in all of our minds. Tom’s opening soliloquy is stage front in the present and is often played outside the apartment. T he scene that follows is from the past, set in a dining room at the back of the stage, as if to emphasize the remoteness of memory. The f igures move backward and forward on stage, like memories themselves, coming into consciousness and then receding. Lighting is used in a similar way: to emphasize through spotlighting the highly selective and highly cathected aspects of memory.Lightness and darkness, dimness and clarity, play an important role in the ambience of the play, heightening the shifting play of memory. Williams is specif ic about the use of lighting in his production notes for The Glass Menagerie: â€Å"The lighting in the play is not realistic. In keeping with the atmosphere of memory, the stage is dim. Shafts of light are focused on selected areas or actors, sometimes in contradistinction to what is the apparent center. . . . A free and imaginative use Downloaded from http://apa. sagepub. om at CALIFORNIA DIGITAL LIBRARY on September 9, 2009 DECLARATIVE MEMORY IN THE G LASS MENAGERIE of light can be of enormous value in giving mobile, plastic quality to plays of more or less static nature† (Williams 1945, p. 10). By commissioning an original musical score, Williams makes a deliberate attempt to evoke memory in members of the audience— memories of their own youthful stirrings, with all the fears and pleasures that attend them. Schacter (1996) notes that it is the memories of adolescence and early adulthood that are most often retained as we grow older.In asking Paul Bowles to write a new piece of music for his play, Williams, I think, is playing with the notion that memory is a new creation, similar to Bowles’s new music, Williams counts on the fact that while the score has never been heard before by the audience, it nevertheless feels familiar and seems a part of one’s previous experience. While the music may stimulate declarative memories of young adulthood in the audience, by its wordlessness it is designed to evoke no ndeclarative memory experienced as a feeling state (Davis 2001).By using a new score rather than relying on familiar tunes, Williams insists that memory is an invention of the present rather than a reproduction of the past. CONCLUSION 1267 So we have Tom Williams in his basement room writing about Tom Wingf ield. His protagonist is thrust both forward and backward in time: Tom Wingf ield in 1945 is ref lecting on a time before World War II began. Tom Wingf ield is Tennessee and not him at the same time. The memories Williams calls forth from his own experiences are transformed in ways that are not only dramatically but psychologically necessary for the author.Rendering the truth through selective and transformed memory, Williams creates his own glass menagerie to which he could each day retreat from the harsh realities of his life in St. Louis in l943. He creates fragile f igures he can control, moving them around the imagined setting of creative memory. In creating the play, he can always be near Rose. On the page and on the stage, the two are bound forever, like f igures on a Grecian urn. At the same time, the play is a justif ication for Tennessee’s departure from the family, a plea for understanding as to why he must leave the altered Rose (his castrated self) behind and pursue his own path.Freud (1908) pointed out how both in creative writing and fantasy â€Å"past, present, and future are strung together, as it were, on the thread of the wish that runs through Downloaded from http://apa. sagepub. com at CALIFORNIA DIGITAL LIBRARY on September 9, 2009 Daniel Jacobs 1268 them† (p. 141). In the process of writing The Glass Menagerie, the infantile wish to reunite with Rose, to rid himself of a hateful father, and to overcome the threats of castration that Rose’s situation and his own imply, f inds a solution to his torments.He does what Tom Wingf ield does in the play. He leaves. By May of l943, Tennessee is on his way to Hollywood to b ecome, for a short time, a screenwriter. But like Tom Wingf ield, Tennessee cannot leave his past behind. He will be as faithful to Rose as Tom Wingf ield is to Laura when at the play’s end he says, â€Å"I tried to leave you behind me, but I am much more faithful than I intended to be† (p. 115). Of their relationship, Rasky (l986) wrote, â€Å"Just as Siamese twins may be joined at the hip or breastbone, Tennessee was joined to his sister, Rose, by the heart. . . In the history of love, there has seldom been such devotion as that which Tennessee showed his lobotomized sister† (p. 51). Peter Altman, former director of Boston’s Huntington Theater, points out how with the writing of The Glass Menagerie Williams blows out the candles on an overtly autobiographical form of writing and moves on to create full-length plays less obviously reliant on the concrete details of his own history (private communication, 1997). While he could never psychologically free h imself from the traumatic events of his upbringing, artistically he was able to move ahead.By creating within and through the play his own glass menagerie, where the characters are f ixed and can live forever in troubled togetherness, he grants himself permission to leave St. Louis once again. Such a creation is akin to Kris’s description of the personal myth (1956a): â€Å"A coherent set of autobiographical memories, a picture of one’s course of life as part of the self-representation [that] has attracted a particular investment, it is defensive inasmuch as it prevents certain experiences and groups of impulses from reaching consciousness. At the same time, the autobiographical self-image has taken the place of a repressed fantasy . . † (p. 294). But in the patients Kris described, sections of personal history had been repressed and the autobiographical myth created to maintain that repression. In Williams’s case, he is quite conscious of the distortions in his â€Å"memory play,† but creativity serves a function for the artist similar to that served by personal myth in Kris’s patients. Williams is able to separate further from his family by keeping himself, through his memory play, attached to them forever, selectively remembered and frozen in time in a way painful, yet acceptable, to him.By writing the play, a visual representation of memory and Downloaded from http://apa. sagepub. com at CALIFORNIA DIGITAL LIBRARY on September 9, 2009 DECLARATIVE MEMORY IN THE GLASS MENAGERIE wish, Williams creates a permanent wish-fulf illing hallucination providing gratif ication and psychic survival (see Freud 1908). Of his sister Rose’s collection of glass animals, which was transformed into Laura’s glass menagerie, Williams wrote that â€Å"they stood for all the small tender things (including, I think, happy memories) that relieve the austere pattern of life and make it endurable to the sensitive.The areaway [t he alley behind his family’s f lat in St. Louis, where cats were torn to pieces by dogs] was one thing—my sister’s white curtains and tiny menagerie of glass were another. Somewhere between them was the world we lived in† (Nelson 1961, p. 8). What enables Williams to survive psychically and adds to his resilience in St. Louis in l943 is, I believe, his ability to create a space between the bitter realities of family life and his impulse to f lee and forget it all—to blow out the candles of memory.That space was his memory play, a space he inhabited daily through his writing, a space of some resilience where psychologically needed memories are created amid the pain and sorrow of the present. And in so doing, he reminds us all of the role memory plays in our survival. Our memories are like glass menageries, precious, delicate, and chameleonlike. We can become trapped by them like Laura and Amanda. Or, as in the case of Tennessee and Mr. Byrne, we can gain resilience from their plasticity that allows us to move forward psychologically.Williams wrote, in his essay â€Å"The Catastrophe of Success† (1975), that â€Å"the monosyllable of the clock is Loss, loss, loss, unless you devote your heart to its opposition† (p. 17). Tennessee felt that for him the heart’s opposition could best be expressed through writing. He felt that the artist, his adventures, travels, loves, and humiliations are resolved in the creative product that becomes his indestructible life. (Leverich 1995, p. 268) I think he might have agreed that while creative work plays that role for the artist, memory and fantasy are its equivalent for all of us.Williams knew that it is through the creative transformation of experience, sometimes in verse, sometimes in memory, that we draw nearer to that â€Å"long delayed but always expected something we live for† (1945, p. 23). REFERENCES 1269 DAVIS, J. (2001). Gone but not forgotten: Declarative and non-declarative memory processes and their contribution to resilience. Bulletin of the Downloaded from http://apa. sagepub. com at CALIFORNIA DIGITAL LIBRARY on September 9, 2009 Daniel Jacobs 1270 Menninger Clinic 65:451–470. FREUD, S. (1899). Screen memories. Standard Edition 3:301–322. ——— (1908). 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New York: Doubleday. ——— (l975). The catastrophe of success. In The Glass Menagerie. New York: New Directions, 1975, pp. 11–17. 64 Williston Road Brookline, MA 02146 E-mail: [email  protected] com Downloaded from http://apa. sagepub. com at CALIFORNIA DIGITAL LIBRARY on September 9, 2009