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December 25, 2008

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Trée George

Mountain Language continues to toll in my head long after it had any right to remain. I have not seen the play acted, only read, but in the reading, the words, the characters seem 3D, a brutal transcript rather than an imagined fictional account. How Pinter did this in so few words is his particular genius.

Lindsay Price

I will always remember reading 'The Birthday Party' at 16. The heart of the truth is that searing, distinct discomfort. As I think about Pinter this weekend, it seems there is a loss of truth, a loss of discomfort in theatre in general.

Kerry Reid

I'm really glad you mentioned "The Lover." I've always loved the use of the milkman in that play -- a character you expect to come back, but he never does.

Ken

Pinter was IT for me. The one. For most of my writing life, I've been a two-bit Pinter impersonator, but now I feel I'm finally coming into my own voice. For years, no other playwright's work was good enough--it was all too explicit, too overwrought, telling me things I didn't need to know, and robbing me of the chance to fill in the gaps myself. I've since become more charitable towards other styles of writing, but the template he laid down all those years ago (mystery, apprehension, no excess information, etc.) is still the one hard-wired in my brain. I've known he was sick for a while, so his passing is not really a shock. But it's still a loss.
Goodbye, Harold.

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