| At the core of Harold Pinter's texts, which must be the final basis for interpretation, lies a constant that sets his artistry apart from that of other contemporary dramatists: the playwright is engaged in fiction-making and specifically creates narrative passages that serve as an integral component of his dramatic form.; Narrative passages are microcosms of the larger drama without definite contours, truths, or fulfillments; they are ambiguous, pluralistic, and subjective, and, at best, pieces of a larger, unsolvable puzzle. These passages are closely linked to the complex fiction-making that takes place in the dramas outside the inset narratives.; From his earliest works to plays like The Homecoming, Old Times, and No Man's Land, Pinter's dramaturgy purposefully questions the ability to know anything beyond one's subjective viewpoint and turns to narrative storytelling to dramatize the tension between differing points of view. The verification of these stories is of no consequence; instead, the juxtaposition of these pluralistic narrative strands drives the momentum of the play, enabling characters to explore identity and use story as a form of action.; As craftsman, Pinter relies on narrative elements as part of his dramatic art: the order, positioning, and frequency of narratives provide structural frameworks in his plays; narratives explore the ephemeral nature of retrospection and the resulting conflicts between subjective visions of past, present, and future; narrative fiction-making develops character and often expresses the dramatic action of the play.; How a story is told in Pinter's fictions reveals the dramatic complexity and obscurity for which this playwright is so often criticized. In his description of "Life At A Dead End," Briggs in No Man's Land underscores the importance of narrative perspective to a story:; We're old friends, Jack and myself. We met at a street corner. I should tell you he'll deny this account. His story will be different. (62); By presenting varying points of view, multiple versions of the same story, and movement from one truth or fiction to another, Pinter can interweave dialogue and narration so that the relativism of his content can be reflected in his form. |
