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class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnText-bHjzlu iUEiRd hWyo iXWezO ptn__text">Lahr wr that Tennsee Williams was “most alert, eloquent, humoro, vulnerable, and forthright when talkg about the one pure thg his life: his work.”</span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd iicloT jbIJNS ptn__cred">Photograph by Ray Fisher / The LIFE Imag Collectn / Getty</span></div></div></figure><div data-ttid="ContentHearLeadRailAnchor" class="ContentHearLeadRailAnchor-jYVcDc djtEof"></div></div></div></div></hear></div><div data-attribute-verso-pattern="article-body" class="ArticlePageContentBackGround-cNiFNN kbAoLA article-body__ntent"><div class="ActnBarWrapperContent-lasBkU cAHp"><div class="ActnBarWrapperComponent-cjwxLS bEeSLb"><div data-attr-viewport-monor="" class="ActnBarWrapper-dhxmQh kNjTbQ viewport-monor-anchor"><button id="bookmark" aria-label="Save this story" class="ActnBarButton-dyFOZU hQrwCF bookmark large-screen"><span 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23.9508L12.5 19.7312L5 23.9508V2.95081H14V3.93211H6V22.1845L12.5 18.5536L19 22.1845V8.83866H20V23.9508Z"></path><path class="in-bookmark-fill" d="M23 3H20V0H19V3H16V4H19V7H20V4H23V3Z"></path></svg></span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ActnBarButtonText-bYXYuh iUEiRd bkefvo gkccfO">Save this story</span></button></div></div></div><div class="LightboxWrapper-dxsWBV hhylRt"><div class="ArticlePageChunksContent-etcMtP bwyLBj"><div data-ttid="ArticlePageChunks" class="ArticlePageChunks-fLyCVG Uozmo"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa bDyAMU body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p>Bgraphi, when they matter, n act as a kd of rrective to the subject’s boorishns. All that the star uld not achieve life—tenrns, re, rponsibily toward others—don’t get vanquished great studi so much as explaed and fold to the grand story of the plited, arrtg self. The Brish bgrapher Michael Holroyd’s life of Lytton Strachey, for stance, is a major work about a mor Bloomsbury figure that is fascatg to read bee Holroyd regniz, whout admonishg, Strachey’s spectacular selfishns. It’s Holroyd’s wty view of all that lifts the narrative up and propels the rear forward. John Lahr’s distctly Amerin sense of humor— never at his subject’s expense—rms “Tennsee Williams: Mad Pilgrimage of the Flh,” his thorative and felt new bgraphy of the playwright (1911-1983). A great al that ma Williams appear out of orr and out of touch durg the latter part of his life and reer—he lled the neteen-sixti his “stoned age”—grew out of forc that Lahr not only scrib but explit, illumat, and mak ronate.</p><div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--article-mid-ntent" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--article-mid-ntent nsumer-marketg-un__slot---ntent"></div><div class="journey-un"></div></div></div><p class="paywall">Lahr begs his life of the playwright wh Williams’s first h—1945’s “The Glass Menagerie.” (Williams’s first thirty-four years were chronicled Lyle Leverich’s excellent, if a trifle standard, 1995 bgraphy, “Tom: The Unknown Tennsee Williams.”) Shiftg effortlsly between that historic play’s rerd-makg openg night, a cril asssment of s importance, and Williams’s personal history—the playwright’s backstage dramas wh his lovers, agent, fay, and so on, always equalled what was on stage; ed, there was not much of a difference to Williams—Lahr’s study is a masterpiece of the form bee he has vented his own. Instead of merely chroniclg Williams’s rise as an thor on the world stage and his ath nearly forty years later, Lahr has ma a cril and bgraphil mosaic. To his historian’s love of chronology, he has applied a cril acumen (he was the lead theatre cric at this magaze for over two s, and was twice the wner of the Gee Jean Nathan award for Dramatic Cricism) and a great reporter’s acuy when to unearthg the facts of Williams’s background and his var psychologil difficulti.</p><p class="paywall">Born Mississippi, Thomas Lanier Williams III—he would not change his name to Tennsee until 1938—was the first son of the Southern-born, Victorian-era raised Edwa and Corneli Williams. Along wh his olr sister Rose and his younger brother Dak, Williams was raised an atmosphere fed by pture and disrd. Corneli, who supported his fay by workg as a salman, was a drker and a womanizer. (His gay son would follow su, but wh boys.) Edwa was the only child of a probably gay pastor. Williams’s rambunct father loathed his wife’s prim, smug attu toward the world, her hatred of sex, not to mentn what black elrs might ll her “sanctified” background. (Acrdg to Williams’s unreliable but entertag 1975 “Memoirs,” Corneli had a great al of rpect for his wife’s mother, who was emotnally lovg a way that her dghter was not. It was her softns and passn that drew her grandchildren to her as well. Williams always lled her Grand, and wrote one of his ft short stori, “Oriflamme,” about her—to him—anarchic spir.) The reprsn, fear, and hysteria that shaped Edwa no doubt fed to Rose’s madns. (Durg the Deprsn, Rose was diagnosed as schizophrenic; 1943, she was lobotomized.) As a young patient, Rose often said that Corneli had molted her. Williams’s younger brother, Dak, had no sexual experience until he was married, at the age of thirty-seven, while the homosexual Williams did not masturbate until he was his mid-twenti.</p><p class="paywall">Not one of the Williams children uld ever effectively marry their bodi to the ncept of eedom or joy. Constantly spl between good and evil, guilt and pleasure, life and ath, the Williams children heard one aria growg up: Edwa’s torrent of words scribg pa, betrayal, s, and wrong dog. (Williams’s first great female character, Amanda Wgfield, “The Glass Menagerie,” was pure Edwa.) Their mother was like an actrs who n’t leave the stage; her feelgs were ls real to her whout an dience. Lahr argu that, like her imagative son, a productive hysteric, Edwa wanted you to feel what she felt. But this is, of urse, a physil and metaphysil impossibily: we are not each other but ourselv. Still, this particular tensn driv much of Williams’s bt work, which often scrib the difference between you and me even as his characters long not only to transmute their feelgs but to make other bodi feel differently.</p><div class="Contaer-bkChBi byNLHx"></div><p class="paywall">Like many thors, Williams wasn’t apt at exprsg himself outsi of his work, but he sometim evced a startlg gree of tough self-awarens. “The real fact is that no one means a great al to me,” he said a 1945 terview. “I’m gregar and like to be around people, but almost anybody will do.” Lahr wr that Williams was at his “most alert, eloquent, humoro, vulnerable, and forthright when talkg about the one pure thg his life: his work.” But what was pure? His wrg was the bridge he tried to build between his bmirched, origal-s self—the self that loved the temporary pleasur of sex, but no doubt nsired “dirty”—and the self that sought purifitn a world other than this one. Ined, the world he reprents his 1943 short play, “The Purifitn,” is a plea for that very thg—the expiatn of guilt and s. The pathos one fds that piece, Williams’s only verse play, grows out of the fact that the protagonist has murred his sister—his one te love. Amidst the poetry, blood stops blood. (Siblgs as the source of life and ath and the imagatn is also the theme of Williams’s unrrated 1973 play, “Outcry.”) There was no end to Williams’s guilt, remorse, and anger for havg survived his sister, particular, and his fay as a whole. No survivor is ever ee of his history of disaster.</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><asi class="PersistentAsiWrapper-VGrR daRVRt persistent-asi" style="posn:absolute;top:to;height:to" data-ttid="PersistentAsiWrapper"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="gl4lr4"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></asi></div></div><div class="RowWrapper-UmqTg HEhan full-bleed-ad row-mid-ntent-ad"><div class="StickyMidContentAdWrapper-fSBzwl drzyIa ad-stickymidntent"><div class="AdWrapper-dQtivb fZrssQ ad ad--mid-ntent should-hold-space"><div class="ad__slot ad__slot--mid-ntent" data-no-id="4quvk6"></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ArticlePageChunksGrid-hfxa bjczjj grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="BodyWrapper-kufPGa bDyAMU body body__ntaer article__body" data-journey-hook="client-ntent" data-ttid="BodyWrapper"><div class="body__ner-ntaer"><p class="paywall">From the first, Williams’s work ethic was extraordary. By the time he won the New York Drama Crics’ Circle Award for “The Glass Menagerie,” 1945, he had wrten at least six full-length apprentice plays, numerable one-acts, poems, and short stori. Wrg was one way of beg seen, and one way of hidg, too. For years, he was a fur blher, particularly when the pany of someone for whom he felt more than a passg fancy. Still, he phed past Edwa’s cripplg fluenc to bee a self that she uld and uld not regnize as her progeny: an amb star. He uld not <em>not</em> speak; his curta was the page, and once he tore that curta open Williams the artist lived to reveal the nstant high-stak drama that was himself. Sex was a rollary to the language; he staed sheets and staed pag and, as the years wore on, the awards piled up, and his var addictns—to booze, barburat, and Broadway succs—piled up, too, he’d often leave all that ms for someone to clean up. Lahr documents how Elia Kazan, Williams’s first great director, helped put certa piec together, like the playwright’s 1955 Pulzer Prize-wng h “Cat on a Hot T Roof,” and the Williams-scripted 1956 movie “Baby Doll.” (In later years, Williams’s need to have someone wipe his ass grew more pronounced. Once, when he was meetg wh the director John Hanck about a televisn script he’d wrten the neteen-seventi, he fell down dnk. Hanck did not pick him up. Some time later, Williams told the director that he was fur he hadn’t picked him up. Neher had Corneli or Edwa.)</p><p class="paywall">Williams’s hot view of a ld world found s most receptive dienc the late neteen-forti and neteen-fifti, a perd Amerin theatre that he domated. The narrow, rtrictive world that Tman and Eisenhower wrought was jt a versn of the kd of reprsn that Williams had grown up wh; his work spoke to those who uld not f wh the parameters of all those neat lawns and whe picket fenc and solid heterosexual valu. In works rangg om 1947’s “A Streetr Named Dire” and 1951’s “The Rose Tattoo” to 1958’s “Sudnly Last Summer,” Williams created a llective portra of difference that often raised the ire of moralists rangg om the gatekeepers at <em>Time</em> to Cardal Spellman, who nounced “Baby Doll” om the pulp of St. Patrick’s Cathedral. The world was rrect, p, duplico Edwa, and Williams wanted to queer the world. Stars rangg om Marlon Brando and Mreen Stapleton to Geralde Page ma their nam works by Williams, bee they were brilliant, but also bee they transmted their difference, as Method artists, through the twisted light of Williams’s characters, who are always set apart.</p><p class="paywall">Lahr’s reporter’s eye—and his love of theatre—is not divisible om his skill at tellg a good love story. Williams’s primary adult relatnship was wh the charmg and hont Frank Merlo, who, like an earlier love, eventually died of ncer. Williams and Merlo met 1947 and were together for fourteen years. Durg that time, Merlo tried to fd his voice as a wrer, too, but unlike Williams Merlo put the drama of their relatnship first. After Merlo’s ath 1961, Williams began his long scent to mercial failure, that “dragon untry” he feared most. (His last Broadway h was 1961’s “Night of the Iguana.”) Dpe the bety of some of the poet’s later work—Lahr is pecially fe on the unrrated “The Gnädig Fräule” (1966) and “In the Bar of a Tokyo Hotel” (1969)—he kept measurg himself agast his former self, that man who queered Broadway. But the value of his late experimental work was distctly anti-Broadway: was about the theatrilizatn of certa lonely tths, like the sire to speak and the work that go to makg a te sentence.</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="9ohm"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--display-rail"></div><div class="journey-un"></div></div></div><div class="StickyBoxPlaceholr-grPmrg dxAvXx"></div></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 PaywallInleBarrierWhWrapperGrid-fyrGfS kLQIUk grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="body body__le-barrier article__body"><div class="ntaer ntaer--body"><div class="ntaer--body-ner"><asi class="PaywallInleBarrierWrapper-iBnuqk lfXXa-D" data-ttid="PaywallInleBarrierWrapper"><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--paywall-le-barrier" role="prentatn" aria-live="pole" aria-hidn="te"><div class="nsumer-marketg-un__slot nsumer-marketg-un__slot--paywall-le-barrier"></div><div class="journey-un"></div></div></asi></div></div></div></div></div></div></div><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 ContentWrapperGrid-fvkmBv brYtrA grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="body body__ntaer"><div class="ntaer ntaer--body"><div class="ntaer--body-ner"></div></div></div></div></div></div></article><div class="ContentFooterWrapper-jVNdRG dTJkpP ArticlePageContentFooterGrid-ccsXYy eMZRHU article-body__footer"><div class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"></div></div></div><div class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div class="ContributorsWrapper-eNpWFu GWFsc ntributors" data-ttid="Contributors"><div class="ContributorBWrapper-bnVHbt gMon"><div class="ContributorBAvatar-bIGTqf eMWbvj"><a href="/ntributors/hilton-als"><span class="SpanWrapper-umhxW jvZaPI rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO dUOtEa rponsive-image"><source media="(max-width: 767px)" srcSet=" 120w, 240w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w" siz="100vw"/><img alt="" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></picture></span></a></div><div class="ContributorBContent-ubQdr jZTSSi"><div class="ContributorBHear-ledood XOIEx"></div><div class="ContributorBB-fBolsO giFhKz"><a href="/ntributors/hilton-als">Hilton Als</a>, a staff wrer at The New Yorker, won the 2017 Pulzer Prize for cricism. He published “<a href=">My Pup</a>,” November, 2022.</div><div class="ContributorBFooter-brqDlv ezUmSv"></div></div></div></div></div></div></div><div class="RowWrapper-UmqTg HEhan"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"></div></div></div><div data-ttid="ContentFooterBottom" class="ContentFooterBottom-jwWZfC kcbyiW"><div class="ContentFooterNewsletterContentWrapper-bmjtna kixtae"><div class="GridWrapper-cAzTTK kHBDeH grid grid-margs grid-ems-2 grid-layout--adrail narrow wi-adrail"><div class="GridItem-buujkM stRKV grid--em grid-layout__ntent"><div data-ttid="NewsletterSubscribeFormWrapper" class="NewsletterSubscribeFormWrapper-fCqqkN jKSBhE newsletter-subscribe-form ContentFooterNewsletterForm-hKeYwa liPqcf"><div data-ttid="NewsletterSubscribeFormHedDekWrapper" class="NewsletterSubscribeFormHedDekWrapper-fpMElW eglIBL"><h3 class="NewsletterSubscribeFormDangeroHed-kRwWjt kbxOa-D newsletter-subscribe-form__hed ContentFooterNewsletterForm-hKeYwa liPqcf">Books & Fictn</h3><div class="NewsletterSubscribeFormDek-kXonvc cKOhTM newsletter-subscribe-form__k">Short stori and poems, pl thor terviews, profil, and tal om the world of lerature.</div></div><div data-ttid="NewsletterSubscribeFormInputsWrapper" class="NewsletterSubscribeFormInputsWrapper-keARJE hVWbzr"><form class="form-wh-validatn NewsletterSubscribeFormValidatn-iCYa-Dt dweEln" id="newsletter" name="newsletter" novalidate="" method="POST"><span class="TextFieldWrapper-Pzdqp hNhevp text-field" data-ttid="TextFieldWrapper__email"><label class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ TextFieldLabel-klrYvg iUEiRd stdEm fvoOvz text-field__label text-field__label--sgle-le" for="newsletter-text-field-email" data-ttid="TextFieldLabel__email"><div class="TextFieldLabelText-cvvxBl eeDYTb">E-mail addrs</div><div class="TextFieldInputContaer-jcMPhb oFrOs"><put type="email" aria-scribedby="privacy-text" aria-valid="false" id="newsletter-text-field-email" required="" name="email" placeholr="E-mail addrs" class="BaseInput-fAzTdK TextFieldControlInput-eFUxkf eGzzTT lglhcT text-field__ntrol text-field__ntrol--put" data-ttid="TextFieldInput__email"/></div></label><button class="BaseButton-bLlsy ButtonWrapper-xCepQ bqVKKv dwpimO button button--utily TextFieldButton-csBrgY edxbrw" data-event-click="{"element":"Button"}" data-ttid="Button" type="subm"><span class="ButtonLabel-cjAuJN hzwRuG button__label">Sign up</span></button></span><div id="privacy-text" tabx="-1" class="NewsletterSubscribeFormDisclaimer-bTVtiV bsgLJZ"><span><p>By signg up, you agree to our <a href=" rel="nofollow noopener noreferrer" target="_blank">User Agreement</a> and <a href=" rel="nofollow noopener noreferrer" target="_blank">Privacy Policy & Cookie Statement</a>. 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But the last of her life, when St. Jt beme the self-appoted keeper of the playwright’s flame, her fantasi assumed a darker role.</div><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>John Lahr</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff ewgXAt summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below-sktop-only summary-em--layout-posn-image-right summary-em--layout-proportns-33-66 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm kdEfwY" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-2" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="Iphigenia Fort Hills" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl bcywvc summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN fYiFyD summary-em__bric"><span class="RubricName-fVtemz cLxcNi">A Reporter at Large</span></div><a class="SummaryItemHedLk-civM cZPaWG summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-2" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ iIjKeM summary-em__hed" data-ttid="SummaryItemHed">Iphigenia Fort Hills</div></a><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb USLvL summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-2" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg egpoQR summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="Iphigenia Fort Hills" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd jxOIpm cPtisA summary-em__k">Anatomy of a murr trial.</div><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div 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