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Index
Cover Page
Title Page
Copyright Page
Dedication
General Editor’s Note
Preface
The Pinter Ethic: Overview
Notes
Harold Pinter: Biography
1930–1940: “Every Time We Evacuated I Took My Cricket Bat With Me.”
1940–1950: “I Was Aware of the Suffering and the Horror of War, and By No Means Was I Going to Subscribe to Keeping It Going.”
1950–1960: “At That Time Acting Was the Only Way I Could Conceive of Earning Any Money.”
1960–1970: “When You Can’t Write, You Feel You’ve Been Banished from Yourself.”
1970–1980: “I Think We’re All Very Close to Tramps”
1980–1990: “If You Shake Hands With Murderers You Have No Moral Commitment.”
1990–2000: “Can Any Playwright Enlarge Our Point of View, Our Understanding of the World We Live In and Mankind?”
Notes
Introduction to the Second Edition: “Fought Against Savage and Pitiless Odds”
Notes
Part One: The Early Work: Power As a Private Affair
Introduction: Pinter’s Achievement—Form and Innovation
Notes
The Dumb Waiter: Paradigmatic Dramatization of Conflict—Toward a Definition of the Pinter Ethic
Notes
The Birthday Party: Choice, Action and Responsibility— the Pinter Ethic Defined
Notes
The Room and the Revue Sketches: The Ethic In the Early Work-Dominance and Destruction
The Room
The Revue Sketches
A Slight Ache As Fulcrum: Leveling Dominant and Subservient Roles—The Triumph of Vitality and Truth
Notes
A Night Out: Vitality Vitiated
Notes
The Hothouse: Madness and Violence
Notes
The Caretaker: Dominance and Subservience Equated—The Human Connection
Notes
Night School: Possible Justice Without Love
The Dwarfs: Dominance As Betrayal
The Servant: Paradigmatic Powerplays
The Collection and the Lover: Identity Gained By Deliberate Pretense
The Collection
The Lover
The Pumpkin Eater: Married Love and Justice
Notes
The Homecoming: Dominance, Choice, and the Ethic Revised
Notes
The Quiller Memorandum: Torture Without Threat
Tea Party and the Basement: The Illusive Qualities of Power
Tea Party
The Basement
Notes
Accident: Death, Desire and Birth
Part Two: The Liminal Plays of the Middle Period
Landscape, Silence, and Night: Where Powerplays Vanish
Landscape
Silence
Night
Notes
The Go-Between: Freedom Reborn
Old Times: Triple Dominance
Notes
Langrishe, Go Down, À La Recherche Du Temps Perdu: The Proust Screenplay, and Monologue: Remembrances of Things Past
Langrishe, Go Down
À La Recherche Du Temps Perdu: The Proust Screenplay
Monologue
No Man’s Land: Past Dominance Regained
Notes
The French Lieutenant’s Woman and The Last Tycoon: Love Gained and Lost
The French Lieutenant’s Woman
The Last Tycoon
Notes
Betrayal: The Past Regained
Part Three: “This Is the End My Friend”: The Lovedeath Apocalyptic Vision Revised: Love, Justice and Power Reclaimed
Precisely and Family Voices: Lovedeath
A Kind of Alaska: Identity Unresolved
Victoria Station: Love and Power Revisited
One for the Road: The End of the Road
Notes
Mountain Language: Torture Revisited
Turtle Diary, Victory, the Handmaid’s Tale, Reunion, the Heat of the Day, the Comfort of Strangers, Remains of the Day and the Trial the Screenplays of the 1980s and Early 1990s
The Comfort of Strangers: Love and Justice
Party Time and the New World Order: Love and Justice Revisited
The New World Order
Notes
Moonlight: Lovedeath Wedded
Notes
Ashes to Ashes, the Dreaming Child, and Celebration: Desire, Destruction, Responsibility and the Complicity of Women
Responsibility and the Complicity of Women In Ashes to Ashes
The Dreaming Child: In Dreams Begin Transformation and Responsibility
Desire, Destruction and the Complicity of Women In Celebration
Notes
Some Conclusions On Love, Justice and Power In the Pinter Ethic: The Public Consequence of Private Acts
Notes
Select Bibliography
Primary Sources: Arranged Chronologically
Secondary Sources
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