David Mamet – författare

Award-winning playwright, screenwriter, and director David Mamet shares his “smart, addictive, hilarious, and insightful” (Breitbart) tales from his four decades in Hollywood where he worked with some of the biggest names in movies.David Mamet went to Hollywood on top—a super successful playwright summoned west in 1980 to write a vehicle for Jack Nicholson. He arrived just in time to meet the luminaries of old Hollywood and revel in the friendship of giants like Paul Newman, Mike Nichols, Bob Evans, and Sue Mengers. Over the next forty years, Mamet wrote dozens of scripts, was fired off dozens of movies, and directed eleven himself. In Everywhere an Oink Oink, he revels of the taut and gag-filled professionalism of the film set. He depicts the ever-fickle studios and producers who piece by piece eat the artists alive. And he ponders the art of filmmaking and the genius of those who made our finest movies. With the bravado and flair of Mamet’s best theatrical work, this memoir describes a world gone by, some of our most beloved film stars with their hair down, and how it all got washed away by digital media and the woke brigade. The book is illustrated throughout with three-dozen of Mamet’s pungent cartoons and caricatures. Everywhere an Oink Oink is “nothing but wicked jokes, angry broadsides, and pointed gossip: in other words, the ideal Hollywood book” (The Wall Street Journal).

Sant och falskt av David Mamet är en av vår tids mest inflytelserika böcker om skådespeleri. Här diskuteras yrket temperamentsfullt och inspirerande. Och ges utmanande och frigörande råd till dem som praktiserar yrket och dem som är på väg in i det. Mamet polemiserar mot den vedertagna undervisning (t.ex. efter Stanislavskij och Lee Strasberg), som tvingar in eleverna under en enda saliggörande metod. Mamet rekommenderar i­stället en modigt enkel och ärlig stil på scenen. Liksom han kraftfullt argumenterar mot skådespeleriets olika myter. David Mamet låter oss här ta del av en lång och vägvisande erfarenhet. Han är en av USA:s stora manusförfattare (Wag the Dog, Glengarry Glen Ross m.fl.) och har författat en lång rad essayer. Denna utgåva är den första boken av Mamet på svenska. Översättaren Gerhard Hoberstorfer är sedan 1990-talet knuten till Stockholms Stadsteater.

A big-shouldered, big-trouble thriller set in mobbed-up 1920s Chicago—a city where some people knew too much, and where everyone should have known better—by the Oscar-nominated screenwriter of The Untouchables and Pulitzer Prize–winning playwright of Glengarry Glen Ross.Mike Hodge—veteran of the Great War, big shot of the Chicago Tribune, medium fry—probably shouldn’t have fallen in love with Annie Walsh. Then, again, maybe the man who killed Annie Walsh have known better than to trifle with Mike Hodge.In Chicago, David Mamet has created a bracing, kaleidoscopic page-turner that roars through the Windy City’s underground on its way to a thunderclap of a conclusion. Here is not only his first novel in more than two decades, but the book he has been building to for his whole career. Mixing some of his most brilliant fictional creations with actual figures of the era, suffused with trademark "Mamet Speak," richness of voice, pace, and brio, and exploring—as no other writer can—questions of honor, deceit, revenge, and devotion, Chicago is that rarest of literary creations: a book that combines spectacular elegance of craft with a kinetic wallop as fierce as the February wind gusting off Lake Michigan.

NEW YORK TIMES BESTSELLER!Savagery appeased can only grow. Once you give in to it, it must escalate, like a fire searching for air.The man who won the Pulitzer Prize for GLENGARRY GLEN ROSS, who wrote the classic films THE VERDICT and WAG THE DOG sounds his alarm about the Visigoths at our gates.In RECESSIONAL he calls out, skewers, mocks, and, most importantly, dissects the virus of conformity which is now an existential threat to the West.A broad-ranging journey through history, the Bible, and literature, RECESSIONAL examines how politics and cultural attitudes about rebellion have shifted in the United States in the last generation. By screaming down freedom of thought and expression, Mamet explains, we kill invention and democracy the foundations of security and growth.A wickedly funny, wistful and wry appeal to the free-thinking citizen, RECESSIONAL is a vital warning that if we dont confront the cultural thuggery now, the commissars and their dupes will transform the Land of the Free into the dictatorship at which they aim.

What makes good drama? How does drama matter in our lives? In Three Uses of the Knife, one of America's most respected writers reminds us of the secret powers of the play. Pulitzer Prize-winning playwright, screenwriter, poet, essayist, and director, David Mamet celebrates the absolute necessity of drama-and the experience of great plays-in our lurching attempts to make sense of ourselves and our world. In three tightly woven essays of characteristic force and resonance, Mamet speaks about the connection of art to life, language to power, imagination to survival, the public spectacle to the private script. It is our fundamental nature to dramatize everything. As Mamet says, "Our understanding of our life, of our drama...resolves itself into thirds: Once Upon a Time...Years Passed...And Then One Day." We inhabit a drama of daily life-waiting for a bus, describing a day's work, facing decisions, making choices, finding meaning. The essays in the book are an eloquent reminder of how life is filled with the small scenes of tragedy and comedy that can be described only as drama.First-rate theater, Mamet writes, satisfies the human hunger for ordering the world into cause-effect-conclusion. A good play calls for the protagonist "To create, in front of us, on the stage, his or her own character, the strength to continue. It is her striving to understand, to correctly assess, to face her own character (in her choice of battles) that inspires us-and gives the drama power to cleanse and enrich our own character." Drama works, in the end, when it supplies the meaning and wholeness once offered by magic and religion-an embodied journey from lie to truth, arrogance to wisdom. Mamet also writes of bad theater; of what it takes to write a play, and the often impossibly difficult progression from act to act; the nature of soliloquy; the contentless drama and empty theatrics of politics and popular entertainment; the ubiquity of stage and literary conventions in the most ordinary of lives; and the uselessness, finally, of drama-or any art-as ideology or propaganda.

From the Academy Award-nominated screenwriter and playwright: an exhilaratingly subversive inside look at Hollywood from a filmmaker who’s always played by his own rules. Who really reads the scripts at the film studios? How is a screenplay like a personals ad? Why are there so many producers listed in movie credits? And what on earth do those producers do anyway? Refreshingly unafraid to offend, Mamet provides hilarious, surprising, and refreshingly forthright answers to these and other questions about every aspect of filmmaking from concept to script to screen. A bracing, no-holds-barred examination of the strange contradictions of Tinseltown, Bambi vs. Godzilla dissects the movies with Mamet’s signature style and wit.From the Trade Paperback edition.

One of America''s most provocative dramatists conquers new territory with this droll comedy of errors set in a Victorian drawing room.Anna and Claire are two bantering, scheming "women of fashion" who live together on the fringes of society.  Anna has just become the mistress of a wealthy man, from whom she has received an enormous emerald.  Claire, meanwhile, is infatuated with a young girl and wants to enlist the jealous Anna''s help for an assignation.  As the two women exchange barbs and taunt their hapless maid, Claire''s inamorata arrives and sets off a crisis that puts both the valuable emerald and the women''s future at risk.  Mamet brings his trademark tart dialogue and impeccable plotting, spiced with Wildean wit, to this wickedly funny comedy.From the Trade Paperback edition.

Having put his personal stamp on the contemporary theater, David Mamet now performs the supremely audacious feat of reinventing the theater of the past. He does so by telling his own ingenious and eerily moving version of the tragedy of Dr. Faustus.Mamet’s Faustus—like Marlowe’s and Goethe’s before him—is a philosopher whose life’s work has been the pursuit of “the secret engine of the world.” He is also the distracted father of a small, adoring son. Out of the clash between love and intellect and the fatal operation of Faustus’ pride, Mamet fashions a work that is at once caustic and heart-wrenching and whose resplendent language marries metaphysics to conman’s patter. A meditation on reason and folly, fathers and sons, and a breathtaking display of magic both literal and theatrical, Faustus is a triumph.From the Trade Paperback edition.

Pulitzer Prize—winning playwright David Mamet’s Romance is an uproarious, take-no-prisoners courtroom comedy that gleefully lampoons everyone from lawyers and judges, to Arabs and Jews, to gays and chiropractors.It’s hay fever season, and in a courtroom a judge is popping antihistamines. He listens to the testimony of a Jewish chiropractor, who’s a liar, according to his anti-Semitic defense attorney. The prosecutor, a homosexual, is having a domestic squabble with his lover, who shows up in court in a leopard-print thong. And all the while, a Middle East peace conference is taking place. Masterfully wielding the argot of the courtroom, David Mamet creates a world in microcosm in which shameless fawning, petty prejudices, and sheer caprice hold sway, and the noble apparatus of law and order degenerates into riotous profanity.From the Trade Paperback edition.

Pulitzer Prize winner David Mamet ranks among the century''s most influential writers for stage and screen. His dialogue--abrasive, rhythmic--illuminates a modern aesthetic evocative of Samuel Beckett. His plots--surprising, comic, topical--have evoked comparisons to masters from Alfred Hitchcock to Arthur Miller. Here are two screenplays demonstrating the astounding range of Mamet''s talents.         The Spanish Prisoner, a neo-noir thriller about a research-and-development cog hoodwinked out of his own brilliant discovery, demonstrates Mamet''s incomparable use of character in a dizzying tale of twists and mistaken identity. The Winslow Boy, Mamet''s revisitation of Terence Rattigan''s  classic 1946 play, tells of a thirteen-year-old boy accused of stealing a five-shilling postal order and the tug of war for truth that ensues between his middle-class family and the Royal Navy. Crackling with wit, intelligent and surprising, The Spanish Prisoner and The Winslow Boy celebrate Mamet''s unique genius and our eternal fascination with the extraordinary predicaments of the common man.From the Trade Paperback edition.

In the ancient Jewish practice of the kavannah (a meditation designed to focus one’s heart on its spiritual goal), Lawrence Kushner and David Mamet offer their own reactions to key verses from each week’s Torah portion, opening the biblical text to new layers of understanding.Here is a fascinating glimpse into two great minds, as each author approaches the text from his unique perspective, each seeking an understanding of the Bible’s personalities and commandments, paradoxes and ambiguities. Kushner offers his words of Torah with a conversational enthusiasm that ranges from family dynamics to the Kabbalah; Mamet challenges the reader, often beginning his comment far afield—with Freud or the American judiciary—before returning to a text now wholly reinterpreted.In the tradition of Israel as a people who wrestle with God, Kushner and Mamet grapple with the biblical text, succumbing neither to apologetics nor parochialism, asking questions without fear of the answers they may find. Over the course of a year of weekly readings, they comment on all aspects of the Bible: its richness of theme and language, its contradictions, its commandments, and its often unfathomable demands. If you are already familiar with the Bible, this book will draw you back to the text for a deeper look. If you have not yet explored the Bible in depth, Kushner and Mamet are guides of unparalleled wisdom and discernment. Five Cities of Refuge is easily accessible yet powerfully illuminating. Each week’s comments can be read in a few minutes, but they will give you something to think about all week long. Lawrence Kushner teaches and writes as the Emanu-El Scholar at The Congregation Emanu-El of San Francisco. He has taught at Hebrew Union College–Jewish Institute of Religion in New York City and served for twenty-eight years as rabbi of Congregation Beth El in Sudbury, Massachusetts. A frequent lecturer, he is also the author of more than a dozen books on Jewish spirituality and mysticism. He lives in San Francisco.David Mamet is a Pulitzer Prize–winning playwright. He is the author of Glengarry Glen Ross, The Cryptogram, and Boston Marriage, among other plays. He has also published three novels and many screenplays, children''s books, and essay collections.From the Hardcover edition.

In these mordant, elegant, and often disquieting essays, the internationally acclaimed dramatist creates a sort of autobiography by strobe light, one that is both mysterious and starkly revealing.The pieces in The Cabin are about places and things: the suburbs of Chicago, where as a boy David Mamet helplessly watched his stepfather terrorize his sister; New York City, where as a young man he had to eat his way through a mountain of fried matzoh to earn a night of sexual bliss. They are about guns, campaign buttons, and a cabin in the Vermont woods that stinks of wood smoke and kerosene -- and about their associations of pleasure, menace, and regret.The resulting volume may be compared to the plays that have made Mamet famous: it is finely crafted and deftly timed, and its precise language carries an enormous weight of feeling.From the Trade Paperback edition.

David Mamet''s new Oval Office satire depicts one day in the life of a beleaguered American commander-in-chief. It''s November in a Presidential election year, and incumbent Charles Smith''s chances for reelection are looking grim. Approval ratings are down, his money''s running out, and nuclear war might be imminent. Though his staff has thrown in the towel and his wife has begun to prepare for her post-White House life, Chuck isn''t ready to give up just yet. Amidst the biggest fight of his political career, the President has to find time to pardon a couple of turkeys — saving them from the slaughter before Thanksgiving — and this simple PR event inspires Smith to risk it all in attempt to win back public support. With Mamet''s characteristic no-holds-barred style, November is a scathingly hilarious take on the state of America today and the lengths to which people will go to win.From the Trade Paperback edition.

Invent nothing, deny nothing, speak up, stand up, stay out of school. With these words, one of our most brilliantly iconoclastic playwrights takes on the art of profession of acting, in a book that is as shocking as it is practical, as witty as it is instructive, and as irreverent as it is inspiring. Acting schools, “interpretation,” “sense memory,” “The Method”—David Mamet takes a jackhammer to the idols of contemporary acting, while revealing the true heroism and nobility of the craft. He shows actors how to undertake auditions and rehearsals, deal with agents and directors, engage audiences, and stay faithful to the script, while rejecting the temptations that seduce so many of their colleagues. Bracing in its clarity, exhilarating in its common sense, True and False is invaluable.From the Trade Paperback edition.

In David Mamet’s latest play, a male college instructor and his female student sit down to discuss her grades and in a terrifyingly short time become the participants in a modern reprise of the Inquisition. Innocuous remarks suddenly turn damning. Socratic dialogue gives way to heated assault. And the relationship between a somewhat fatuous teacher and his seemingly hapless pupil turns into a fiendishly accurate X ray of the mechanisms of power, censorship, and abuse.

In The Old Neighborhood David Mamet confirms his stature as a master of the American stage, a writer who can turn the most innocuous phrase into a lit fuse and a family reunion into a perfectly orchestrated firestorm of sympathy, yearning, and blistering authentic rage.               In these three short plays, a middle-aged Bobby Gould returns to the old-neighborhood in a series of encounters with his past that, however briefly, open windows on his present. In "The Disappearance of the Jews," Bobby and an old buddy fantasize about finding themselves in a nostalgic shtetl paradise while revealing how lost they are in their own families. In the comfort of her kitchen, Bobby''s sister "Jolly" unscrolls a list of childhood grievances that is at nice painful and hilarious. And the old girlfriend in "Deeny," faced with a man she once loved, finds herself obsessively free-associating on gardening, sex, and subatomic particles. Swerving from comedy to terror, from tenderness to anguish—with a swiftness that unsettles even as it strikes home—The Old Neighborhood is classic Mamet.

In this gripping short play, David Mamet combines mercurial intelligence with genuinely Hitchcockian menace. The Cryptogram is a journey back into childhood and the moment of its vanishing—the moment when the sheltering world is suddenly revealed as a place full of dangers.             On a night in 1959 a boy is waiting to go on a camping trip with his father. His mother wants him to go to sleep. A family friend is trying to entertain them—or perhaps distract them. Because in the dark corners of this domestic scene, there are rustlings that none of the players want to hear. And out of things as innocuous as a shattered teapot and a ripped blanket, Mamet re-creates a child terrifying discovery that the grownups are speaking in code, and that that code may never be breakable.

"The finest American playwright of his generation" (Sunday Times) Speed-the-Plow sees two old-time movie collaborators manipulate the aspirations of a young woman who will do anything to attain her dream of success in "a brilliant black comedy, a dazzling dissection of Hollywood cupidity." (Newsweek)

First staged in Britain in 1983, Glengarry Glen Ross is the tale of four real-estate salesmen in a cut-throat sales competition. It won the Pulitzer Prize in 1984 and was made into a film, starring Al Pacino, Jack Lemmon, Kevin Spacey and Alec Baldwin, in 1992.

"The finest American playwright of his generation" (Sunday Times) A junk shop. Three small-time crooks plot to carry out the midnight robbery of a coin collection. In the hours leading up to the heist, friendship becomes the victim in a conflict between loyalty and business."This play is a parable about the US - not in the journalistic way...but quietly, stealthily, with all the rich interior organisation of a true work of art" (Observer)

"An ear for reproducing everyday language has long been David Mamet's hallmark and he has now employed it to skewer the dogmatic, puritannical streak which has become commonplace on and off the campus. With Oleanna he continues an exploration of male-female conflicts begun with Sexual Perversity in Chicago in 1974. Oleanna cogently demonstrates that when free thought and dialogue are imperilled, nobody wins." (Michael Wise, Independent) In Oleanna "John and Carol go to it with hand-to hand combat that amounts to a primal struggle for power. As usual with Mamet, the vehicle for that combat is crackling, highly distilled dialogue unencumbered by literary frills or phony theatrical ones." (Frank Rich, International Herald Tribune)