By Harold Bloom
David Mamet received regard as a number one American playwright and screenwriter with such works as his 1981 debut screenplay, The Postman regularly jewelry two times and the 1984 Pulitzer Prizewinning play, Glengarry Glen Ross. This name, David Mamet, a part of Chelsea condo Publishers’ smooth serious perspectives sequence, examines the most important works of David Mamet via full-length severe essays by means of professional literary critics. moreover, this name contains a brief biography on David Mamet, a chronology of the author’s existence, and an introductory essay written by way of Harold Bloom, Sterling Professor of the arts, Yale college.
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Additional info for David Mamet (Bloom's Modern Critical Views)
26. The South Bank Show, London Weekend Television, 20 March 1985. 27. Shepherd, interview with author, 13 March 1986, National Theatre, London. 40 Anne Dean 28. Stephen Brook, New York Days, New York Nights (London: Picador, 1985), p. 47. 29. Stinton, interview with author, 22 March 1986, National Theatre, London. 30. Friedrich Hebbel cited in Playwrights on Playwriting, ed. Toby Cole (New York: Hill & Wang, 1982), p. 286. 31. Nicholas de Jongh, The Guardian 19 March 1984 p. 11. DOUGLAS BRUSTER David Mamet and Ben Jonson: City Comedy Past and Present A merican critics often react chauvinistically to David Mamet’s work, a response prompted, perhaps, by a perceived lack of a premier national playwright.
Scene 19, p. 37) Bernie establishes the avuncular tone that he will use to denigrate Danny’s relationship with Deborah in the opening words of this speech: he calls Danny “the kid” and suggests that Danny’s reliance upon his advice is far from unusual. ) could entertain such feelings and has wasted no time in repeating, over and over, that Deborah is nothing more than a broad. There is something pathetic in Bernie’s assumption that Danny could not know he was in love “at that age”; after all, twenty-eight is an age by which many men are already married with a family.
So just let me tell my story, okay? So the other day we’re up on six and it’s past ﬁve and I’m late, and I’m having some troubles with my chick ... and I push the button and the elevator doesn’t come, and it doesn’t come, and it doesn’t come, so I lean back and I kick the shit out of it three or four times.... And he, he puts his arm around my shoulder and he calms me down and he says, “Dan, Dan ... ) Huh? So I don’t want to hear you badmouthing Bernie Litko. (scene 25, p. 43) Mamet manages to incorporate a great deal of urban despair into this one, short speech.