It is no secret that during Harold Pinter’s lifetime, critics, scholars, and audience members alike confronted the peculiar qualities of his writing; qualities that would lead Martin Esslin to affiliate Pinter with the Theatre of the Absurd and its representative playwrights: Adamov, Beckett, Genet, and Ionesco. Esslin’s characterization of Pinter as an absurdist sparked debates and discussions that continue even now. Nevertheless, Esslin’s The Theatre of the Absurd galvanized the attention that Pinter received in Britain and mainland Europe and situated his plays within the broader theatrical avant-garde that developed in the wake of the Second World War.But more recently, scholars have turned their attention to Pinter’s artistic output beyond his work as a playwright. Jonathan Bignell and William Davies’s edited issue of the Historical Journal of Film, Radio and Television, entitled “Harold Pinter’s Transmedial Histories,” examines Pinter’s contributions to a variety of different media. And Basil Chiasson’s recent study, The Late Harold Pinter: Political Dramatist, Poet and Activist, is one of the few scholarly works to analyze Pinter’s poetic output. Such examples make for a diverse and varied discussion of Pinter’s artistic accomplishments.With this context in mind, Harold Pinter: Stages, Networks, Collaborations is particularly notable. The volume not only provides a forum for scholars to reexamine Pinter’s plays, but it also underscores Pinter’s influence on late twentieth- and twenty-first-century British theater. The text’s editors, Basil Chiasson and Catriona Fallow, observe that the publication is as much a “process of reassessment of what is known or held to be true as it is an attempt to showcase and generate new knowledge” (2). Responding to the “renewed interest in Pinter’s writing for contemporary audiences and a wave of fresh approaches to staging Pinter,” Fallow and Chiasson neatly organize the volume into three distinct sections that, when read together, represent the “various stages, networks and collaborations that were endemic to Pinter’s career and that continue to define his legacy” (2). In the end, the volume presents an interdisciplinary approach to Pinter studies that will be of interest to scholars, students, and theater artists alike.The book’s first section, aptly named “(Re)situating Pinter, Critical Orientations,” straddles that line between reassessing Pinter’s work and producing new knowledge about it. Though it contains chapters that represent well-worn topics in Pinter scholarship (e.g., Chiasson’s chapter on Pinter and modernism; Eckart Voigts’s study of Pinter and Judaism; and Harry Derbyshire’s analysis of Pinter and the Theatre of the Absurd), these contributions bring new perspectives to how readers understand Pinter’s creativity and identity. On the other hand, the remaining chapters depict more critical interventions. James Hudson’s “The Elite Pinter and the Pinter Elite” makes the rather compelling observation that “Pinter’s stock rose through his being associated with particular aesthetic movements thought to be elite, though the perception of him as an elite artist acquired unusual contours as his political activism increased and his artistic output changed in scope and form” (54). On a related topic, Ibrahim Yerebakan’s “Pinter’s Connections with the Middle East” not only discusses Pinter’s extended criticism of British and American foreign policy during the 2003 invasion of Iraq, but it also elaborates the numerous complexities that resulted from Pinter’s visit to Turkey with Arthur Miller in 1985. Having visited the British Library to work with Pinter’s papers, I believe that there may be more to be said about this topic, and Yerebakan’s article demonstrates why Pinter’s engagement with the Middle East warrants further examination.The volume makes a natural progression to the second section, entitled “Pinter as Playwright, Playwrights and Pinter,” which explicitly details Pinter’s creative practice and his impact on British theater. Whereas Steve Waters examines the unique circumstances that informed Pinter’s singular vision as a playwright, Alex Watson attends to Pinter’s “dark matter,” those ways that Pinter’s plays haunt us with their representation of systemic violence but are also haunted by what they cannot, or do not, make visible. Catriona Fallow takes a different approach, illustrating the fruitful collaboration between Pinter, Peter Hall, and the Royal Shakespeare Company. Finally, David Pattie and Maria Elena Capitani attend to Pinter’s relation to more contemporary British playwrights, including Jez Butterworth, Dennis Kelly, and Martin Crimp. Capitani’s article, “The Crimpesque: Pinter’s Legacy in the Theatre of Martin Crimp,” is particularly interesting. While Capitani goes to great lengths to illustrate Pinter’s importance to Crimp, the chapter also shows—perhaps unconsciously—Crimp’s reticence to identify Pinter as an explicit influence on his work. Viewed comprehensively, the section presents a more dynamic and complicated narrative than one might anticipate.The third and final part provides readers with the opportunity to learn from those who worked directly with Pinter. The section, “Conversations and Collaborators,” contains interviews with Chinonyerem Odimba, Nancy Meckler, Douglas Hodge, Jamie Lloyd, and Soutra Gilmour. These discussions provide insight into Pinter’s creative process and the rigor required to produce his work. Examining these interviews, one is immediately struck by Pinter’s generosity and by the immense respect that each of these artists has for him. While these interviews will reward any reader, they may be particularly appealing to students learning how to stage Pinter’s plays.In sum, Harold Pinter: Stages, Networks, Collaborations is a worthwhile read. While many of the chapters do tread familiar ground, they are not derivative. Instead, they attempt to bring nuance to conversations that may otherwise feel repetitive. The interviews are particularly valuable. In fact, I would have appreciated reading even more of them. Nevertheless, they provide a welcome change of pace to the scholarship that precedes them, and the editors were wise to produce a volume that could address Pinter’s artistic output through a variety of different perspectives. Harold Pinter: Stages, Networks, Collaborations is a worthy addition to any academic library or Pinter scholar’s bookshelf.