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Bloom's Modern Critical Views - David Mamet (2004) (294p) [Inua] pdf

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 							David Mamet (Bloom's Modern Critical Views) Hardcover – September, 2003
  by Harold Bloom
(Editor)
  
  Series: Bloom's Modern Critical Views
  Hardcover: 285 pages
  Publisher: Chelsea
House Pub (L) (September 2003)
  Language: English
  ISBN-10: 0791076601
  ISBN-13: 978-0791076606
 

  Mamet gained regard as a leading American playwright and screenwriter with such works as "The Postman Always
Rings Twice" and the 1984 Pulitzer Prizewinning play, Glengarry Glen Ross.
  
  Editor’s Note
  My
Introduction meditates upon Sexual Perversity in Chicago as David Mamet’s Inferno, a vision of the damned.
 
Anne Dean sees Sexual Perversity in Chicago as a satire upon American praxis of the 1970’s, while Douglas Bruster
deftly invokes the city comedies of Ben Jonson as antecedents to Mamet’s charlatans and gulls.
  The
complexly Jewish strain in Mamet’s work is illuminated by Toby Silverman Zinman, who emphasizes the Talmudic mode
of answering questions with another question.
  Male bonding, another source of complex anguish in Mamet, is judged
by David Radavich to catch the Spirit of the Age, where male identity feels threatened by the supposedly new
assertiveness of women.
  In an overview, Edward J. Esche attempts to apply aspects of Shakespeare’s darker,
more problematic comedies, to our quest for appreciating Mamet, after which Michael L. Quinn relates Mamet’s
expressionistic “realism” to the paradoxical American exaltation of an artist’s “creative
rejections.”
  Howard Pearce develops Mamet’s idea of the artist-as-“freak” confronting a
tinsel reality, while Leslie Kane returns us to Jewish identity and its discontents in Mamet.
  A comprehensive
account of Mamet is given us by the vastly informed critic of contemporary drama, C.W.E. Bigsby, who bluntly remarks:
“His plays feature man as an endangered species.”
  Oleanna is contrasted with Lillian Hellman’s
The Children’s Hour by David Kennedy Sauer, for whom “the system” is to blame, rather than the man or
the woman.
  Richard Brucher turns back to Edmond, in order to uncover yet once more the pervasive influence of
Thorstein Veblen upon Mamet.
  In a brilliant reading of The Cryptogram (considered by Tony Kushner to be
Mamet’s best play so far), Linda Dorff analyzes the dramatist as being victimized by the male mythology he seeks
to parody and overthrow.
  
   						

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