New Releases by David Mamet

A “curiously compelling” novel by the Pulitzer prize–winning playwright in which the internet crashes and the past is reconstructed from memories. (Publishers Weekly) When the Internet—and the collective memory of the twenty-first century—crashes, the past is reassembled from the downloaded memories of Ginger, wife of ex-President Wilson. The transcripts take the reader on an intellectually breathtaking tour through David Mamet’s baroque, fragmented world, where nothing is certain except the certainty bestowed by the academy. “As erudite as can be, engagingly mischievous and occasionally a little chilling.” —The Sunday Times “Enticing . . . Mamet targets with luscious savvy and deadpan irony the limitless pretense of academics.” —Review of Contemporary Fiction fiction;speculative;novel;satire;pastiche;academic life;scholarship;near-future;experimental;Mars;settlement;colonization;science fiction;internet;dependency;social;political;historical;impact;futurist;modernist;literary;criticism;popular;culture;philosophical;humorous FIC052000 FICTION / Satire FIC064000 FICTION / Absurdist FIC028120 FICTION / Science Fiction / Humorous 9781683358794 Seeing Central Park Miller, Sara C

The purpose of theater, like magic, like religion . . . is to inspire cleansing awe. What makes good drama? And why does drama matter in an age that is awash in information and entertainment? David Mamet, one of our greatest living playwrights, tackles these questions with bracing directness and aphoristic authority. He believes that the tendency to dramatize is essential to human nature, that we create drama out of everything from today’s weather to next year’s elections. But the highest expression of this drive remains the theater. With a cultural range that encompasses Shakespeare, Bretcht, and Ibsen, Death of a Salesman and Bad Day at Black Rock, Mamet shows us how to distinguish true drama from its false variants. He considers the impossibly difficult progression between one act and the next and the mysterious function of the soliloquy. The result, in Three Uses of the Knife, is an electrifying treatise on the playwright’s art that is also a strikingly original work of moral and aesthetic philosophy.

The purpose of theater, like magic, like religion . . . is to inspire cleansing awe. What makes good drama? And why does drama matter in an age that is awash in information and entertainment? David Mamet, one of our greatest living playwrights, tackles these questions with bracing directness and aphoristic authority. He believes that the tendency to dramatize is essential to human nature, that we create drama out of everything from today''s weather to next year''s elections. But the highest expression of this drive remains the theater. With a cultural range that encompasses Shakespeare, Bretcht, and Ibsen, Death of a Salesman and Bad Day at Black Rock, Mamet shows us how to distinguish true drama from its false variants. He considers the impossibly difficult progression between one act and the next and the mysterious function of the soliloquy. The result, in Three Uses of the Knife, is an electrifying treatise on the playwright''s art that is also a strikingly original work of moral and aesthetic philosophy.

An old man uses an antique watch to teach a young boy facing his first Bar Mitzvah about man and God, about the Holocaust, and about the richness and responsibility of being a Jew, in a wonderful illustrated gift book. 15,000 first printing.

In this new collection, fans will discover the author''s literary sharing on the nature of creativity, the challenge of aging, and his most intimate interests.

Unpublished printer''s proof of the title: The old religion.

Three crooks in a junk shop plot to steal a coin collection in this award-winning drama by an acclaimed new American playwright.

Short Plays / Comedy / 2m, 3f / 3 ints. This long-running Off Broadway hit features the work of three gifted playwrights. David Mamet''s AN INTERVIEW is an oblique, mystifying interrogation. A sleazy lawyer is forced to answer difficult questions and to admit the truth about his life and career. The why and where of the interrogation provide a surprise ending to this brilliant twenty minute comedy. In HOTLINE by Elaine May, a neurotic woman with enough urban angst to fill a neighborhood calls a

"The Shawl" is about a small-time mystic out to bilk a bereaved woman of her inheritance. In "Prairie du Chien" a railroad car is the setting for a violent story of obsessive jealousy, murder and suicide punctuated by the camaraderie of a friendly card game exploding into a moment of menace.

A masterclass on the art of directing from the Pulitzer Prize-winning (and Oscar and Tony-nominated) writer of Glengarry Glen Ross, Speed the Plow, The Verdict, and Wag the Dog Calling on his unique perspective as playwright, screenwriter, and director of his own critically acclaimed movies like House of Games, State and Main, and Things Change, David Mamet illuminates how a film comes to be. He looks at every aspect of directing—from script to cutting room—to show the many tasks directors undertake in reaching their prime objective: presenting a story that will be understood by the audience and has the power to be both surprising and inevitable at the same time. Based on a series of classes Mamet taught at Columbia University''s film school, On Directing Film will be indispensible not only to students but to anyone interested in an overview of the craft of filmmaking. "Passion, clarity, commitment, intelligence—just what one would expect from Mamet." —Sidney Lumet, Academy Award-nominated director of 12 Angry Men, Dog Day Afternoon, Network, and The Verdict

Bobby Gold is a smooth-talking Jewish homicide detective. He is annoyed when he becoems involved in a routine investigation into the murder of an elderly Jewish woman in a black ghetto. He is more interested in a high-profile murder case that he nd his partner are on the verge of breaking. But the old woman''s murder draws him into a world of anti-Semitism and Jewish terrorism, where his loyalties are blurred, and he is forced to confront his own attitudes about being Jewish.

Olga, Masha and Irina are left stranded in a provincial backwater after the death of their father, an army general. While tension mounts between the sisters and Natalya, their sister-in-law, the women focus their dreams on returning to Moscow, a city remembered through the eyes of childhood as a place where happiness is possible. | Adaptation of: Tri sestry.

Five unique short plays for television by one of America''s most celebrated playwrights. A ''Waitress in Yellowstone'' (or: ''Always Tell the Truth'') is a parable about an honest waitress and a corrupt congressman. In Bradford, a new police chief arriving in a small New England town is plunged into the midst of its cozy secrets and uncovers the truth behind his predeces-sor''s mysterious fatal hunting accident. The Museum of Science and Industry Story is a fantasy about the adventures of a man locked in a museum overnight. A Wasted Weekend is a 1987 episode of Hill Street Blues focusing on four cops and their ill-fated hunting trip. In We Will Take You There, Danny and Mike, partners in an unusual "taxi service to the wilds," offer themselves as guides to the most remote areas of the world. Displaying Mamet''s characteristic ear for language and unsettling moral vision, these plays are among his darkest, funniest, and most entertaining. Includes: ''A Waitress in Yellowstone'' (or: ''Always Tell the Truth'') ''Bradford'' ''The Museum of Science and Industry Story'' ''A Wasted Weekend'' ''We Will Take You There''

So, what happens in Uncle Vanya? Not much; just life, played out over four acts. There are rich people, and there are people who work for the rich people, whom the rich people don''t really care about. There is a gun fired in anger and desperation, but there aren''t any bodies to carry off stage. There are men making fools of themselves over women. There are those who accept their fates and wait for their rewards in heaven, and there are others who don''t care one way or another. Chekhov''s play moves so languidly that, without a vibrant cast, an understanding director, and a lively translation, it stands the chance of passing under the radar of the average audience. The reworking of the script aims at accessibility, replacing the "outdated colloquialisms" and "brittle prose" of earlier translations.

State Theatre Company Programs.

"Essays in direct line from Stanislavsky, Chekhov, Shaw, and Brecht" —Mike Nichols A collection of essays from Pulitzer Prize winning playwright David Mamet adressing many issues in contemporary American theater Temporarily putting aside his role as playwright, director, and screen-writer, David Mamet digs deep and delivers thirty outrageously diverse vignettes. On subjects ranging from the vanishing American pool hall, family vacations, and the art of being a bitch, to the role of today''s actor, his celebrated contemporaries and predecessors, and his undying commitment to the theater, David Mamet''s concise style, lean dialogue, and gut-wrenching honesty give us a unique view of the world as he sees it.

A modern parable in which a young man and woman who spend a night in his family''s cabin experience first passion, then dissillusionment, but are reconciled in the end by mutual need.

Consists of scripts and research materials relating to David Mamet''s original screenplay for the 1987 film The Untouchables, starring Kevin Costner and Sean Connery, and directed by Brian De Palma. The collection illustrates the creative process of writing The Untouchables, from the preliminary research stage to the revised final draft of 1986. Included are photocopied news clippings concerning Eliot Ness and Al Capone, handwritten notes, scene sketches that reveal Mamet''s ideas for dialogue and character traits, and outlines and drafts, all of which reveal the evolution of the work. A brief note from Art Linson, producer of the film, is included.