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/10.1057/9780230512207t presented a woman character as enigma within a predominantly masculine world: Margaret Ford, the psychoanalyst who alters her appearance and behavior at the end of . (1987); and Karen, the Hollywood secretary whose motives remain uncertain in . (1988).

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,Mamet’s Three Children’s Plays: Where the Wilder Things Are, and die. We as audience and we as artists must work to bring about a theater, an American Theater, which will be a celebration of these things” (. 30). To rescue the commonplace from apparent banality and “ratify [its] universality” has, indeed, long been recognized as a defining characteristic of Wilder’s drama.

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Disguise in Love: Gender and Desire in , and Speed-,t presented a woman character as enigma within a predominantly masculine world: Margaret Ford, the psychoanalyst who alters her appearance and behavior at the end of . (1987); and Karen, the Hollywood secretary whose motives remain uncertain in . (1988).

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Demotic Male Desire and Female Subjectivity in David Mamet: The Split Space of the Women of ,own spare remarks—that he prefers to write about men (Fraser 7)—may be seen only to confirm the feeling that often surfaces in popular responses to Mamet’s plays that this is a playwright with an anachronistic hostility to, or apathy for, women.

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,Mamet’s Novelistic Voice, novel brings home the unexpected, “always the unforeseen” in human existence: “Everything changes except War” (. 231; 230). The voice here is Lynn’s, the oldest and arguably wisest of the male characters, the consummate hunter, but Mamet emphatically endorses the idea through his choice of Lynn as the focus in this crucial scene.