KATHLEEN H. BURKMAN is Professor of English at The Ohio State University and author of The Dramatic World of Harold Pinter: Its Basis in Ritual; The Arrival of Godot: Ritual Patterns in Modern Drama; and Simon Gray: A Casebook. JOHN L. KUNDERT-GIBBS is currently a Ph.D. candidate at The Ohio State University.

• PREFACEACKNOWLEDGMENTSI. PINTER IN PRODUCTION1. Pinter in Rehearsal: From The Birthday Party to Mountain Language: Carey Perloff2. Producing Pinter: Louis MarksII. POLITICAL PINTER3. Harold Pinter's Theatre of Cruelty: Martin Esslin4. Harold Pinter's The Hothouse: A Parable of the Holocaust: Rosette C. Lamont5. Disjuncture as Theatrical and Postmodern Practice in Griselda Gambaro's The Camp and Harold Pinter's Mountain Language: Jeanne Colleran6. The Outsider in Pinter and Havel: Susan Hollis MerrittIII. PINTER'S POETICS7. The Betrayal of Facts: Pinter and Duras beyond Adaption: Judith Roof8. Image and Attention in Harold Pinter: Alice Rayner9. Pinter and the Ethos of Minimalism: Jon EricksonIV. PINTER AND INFLUENCE10. Xhekhov, Beckett, Pinter: The St(r)ain upon the Silence: Alice N. Benston11. That first last look: Martha Fehsenfeld12. A Rose by any other name: Pinter and Shakespeare: Hersh Zeifman13. From Novel to Film: Harold Pinter's Adaptation of The Trial: Francis Gillen14. I am Powerful...and I am only the lowest doorkeeper: Power Play in Kafka's The Trial and Pinter's Victoria Station: John L. Kundert-GibbsV. PINTER AND FILM15. Art Objects as Metaphors in the Filmscripts of Harold Pinter: Steven H. Gale16. Pinter and Bowen: The Heat of the Day: Phyllis R. RandallVI. Alaskan Perspectives17. Portrait of Deborah: A Kind of Alaska: Moonyoung C. Ham18. Deborah's Homecoming in A Kind of Alaska: An Afterword: Katherine H. BurkmanWORKS CITEDCONTRIBUTORSINDEX