Abstract
One might wonder if there is anything new to be written about the work of Harold Pinter. Other than Brecht and Beckett, there may be more volumes of criticism on Pinter than any other playwright of the twentieth century. The difference is that Pinter is still very much a living and evolving artistic force in today's theatre, not only as a playwright, but as a screenwriter, director, and actor. Despite some minor flaws, The Cambridge Companion to Harold Pinter , a collection of critical essays edited by Peter Raby, accomplishes the purpose stated in its brief foreword: to “provide an introduction to one of the world's leading and controversial writers, whose output in many genres and roles continue to grow.”
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