This work aims to decipher the allegories and symbols in the literary oeuvre of Tennessee Williams. There is no doubt that Williams constructs an image of himself through his theatrical heroes and heroines. Val Xavier (Orpheus Descending), Lot (The Kingdom of Earth), and other characters that reference Christ are merely veiled projections of Williams' life and times. The process of self-sainthood includes his theatrical characters along with Christian hagiology and his own traumatic experiences. As a playwright, he uses his characters as a dramatic device as well as a means to reveal his true self to his audience.

In the context of this academic research, the author introduces a different artistic interpretation, directing Williams' words as religious dramas. "Sebastian and the cannibal" was an experimental performance based on functional and ritual habits. "The Angel in the Alcove" was a reflection of the secular world as a Calvinist nightmare. "Cabeza de Lobo" was an allegory themed around the Holy Eucharist. The overwhelming majority of scholars regard Tennessee Williams as an enemy of the Christian Church and as an immoral "worshiper of the flesh." Was his homosexuality his way of life? No, not at all. His homosexuality was his martyred path. His theatrical performances are coded sermons in which Williams expresses his faith in Christian metaphysics.