Tennessee Williams wrote A Streetcar Named Desire in 1947. The play was an instant criticalsuccess, receiving the Pulitzer Prize for Drama the following year. At thetime, Translation Studies was a blooming science that focused ontranslatability issues and methodology. With the help of literary criticism andlinguistics, translation was paving the way for the quantum leap that it wouldproduce in the coming decades. Because of Franco?s dictatorship in Spain,translations into Spanish were mainly produced in Mexico, Peru and Argentina.Writers such as Jorge Luis Borges were quickly expanding the literary canonintroducing translations into the system thus opening the world of Spanishletters to new voices, styles and movements. In 1951, León Mirlas translated A Streetcar Named Desire in Argentina,revolutionizing the Argentine stage. Sixty-five years have elapsed since then.This period has seen the establishment of Translatology as a fully-independentscience, and it has given the play different readings from a queer perspective.Revisiting Mirlas? work we may comprehend that with the multiplicity of toolswe have developed since then we may revolutionize the stage once more as wellas give credit to the vast growth of our science. Following Keith Harvey´s(1998) queer translation methodology in the analysis of gay camp intranslation, this paper studies Williams? play to recuperate the ?gaylese? (Penelopeand Wolfe 1979) traits that may provide food for anew reading of this old classic.