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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Oleanna, or, the Play of Pedagogy, acknowledged the rage released by men of the audience, whose antipathy toward Carol exploded in extraordinary and immediate vituperative verbal responses. Indeed, their dislike of her was mirrored in the near-final moments when John, reduced in language to a wrathful and graphic expletive, stands o

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Introduction,the 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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Plowing the Buffalo, Fucking the Fruits: (M)Others in American Buffalo and Speed-the-Plow,st 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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Prophecy and Parody in ,.… 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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Demotic Male Desire and Female Subjectivity in David Mamet: The Split Space of the Women of ,et’s plays at the 1994 MLA convention in San Diego (7). Not too long ago, Ilkka Joki cataloged extensively the chorus of bitter complaints that have been heard over the last decade regarding Mamet’s alleged misogyny and outrageous gender representations (11- 13). Some years ago, Bharati Mukherjee, a