Abstract
Abstract One productive way to interpret Pinter's Betrayal as emanating from and building on the modernist tradition of what Suzanne Guerlac calls “thinking in time” is through a Benjaminian lens in which a traumatic confrontation triggering the sudden shifts in reverse chronology disrupts the expectations of realism. Pinter relies on a disruptive nonlinear narrative that moves toward disillusion and revelation, denies the distortion of nostalgia, and culminates in reclaiming what was lost and fixing what was found forever in his art.
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