This study focuses on the ways in which Harold Pinter conceives of
and dramatizes time according to the medium in which he is working.
It goes beyond Pinter's fascination with false and true memory to
trace the various textual and non-textual strategies he employs to
distort sequence and duration in his plays. This book shows how
Pinter undermines the temporal assumptions of naturalism and
realism to form a relativistic world in which time is a central
feature.
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