Titlebook: Gender and Genre; Essays on David Mame Christopher C. Hudgins,Leslie Kane Book 2001 Palgrave Macmillan, a division of Nature America Inc. 2

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https://doi.org/10.1007/978-1-349-20672-8the love of my family, frankly, the guiding desire of my life: to win and keep a place in our culturally despised profession through merit” (126). At the beginning of the twenty-first century, few knowledgeable people would deny that Mamet has won his place as one of the most respected, talented, an

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https://doi.org/10.1007/978-1-349-09918-4st feminist critics that Mamet and misogyny ring synonymous. The aggressively male dramaturgy charted by this first effort has served to cement this damning equation, as most Mamet plays feature men in traditionally male environments and include women only as minor characters when they are included

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https://doi.org/10.1057/9780230512207d began to develop the scatalogically colloquial dialogue for which he would become known. This, after all, was the piece in which a man describes women as “soft things with a hole in the middle,” a line that one critic thought sufficiently representative to use in the epigraph to a scathing essay o

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https://doi.org/10.1057/9780230300453.… O’Neill couldn’t write a line of dialogue if you put a gun to his head, but he sure looked out at America, and he said at the turn of the century, ‘We blew it. It doesn’t work. The American Dream failed. It’s a tragedy, America’” (Kane 236–37). Mosher invokes O’Neill to make a claim for clairvoya

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British Romanticism in European Perspectiventerpretations focusing on gender politics. Such arguments tend to favor discussions of power, language, or political correctness gone horribly wrong. The play and its author certainly invite readings grounded in its cultural context, concerned as it is with familiar current events. But if we turn a

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https://doi.org/10.1007/978-3-319-67894-8edda Gabler do not generally turn for inspiration to America’s foremost macho playwright, whose milieu runs the gamut of pool halls, porn theaters, cheap bars, Hollywood offices, and other traditionally male arenas, and whose characters do “guy” things: curse, gamble, cheat, wheel and deal. By and l