Harold Pinter, CH, CBE (born 10 October 1930) is an English playwright, screenwriter, poet, actor, director, author, and political activist, best known for his plays The Birthday Party (1957), The Caretaker (1959), The Homecoming (1964), and Betrayal (1978), and also for his screenplay adaptations of novels by others, such as The Servant (1963), The Go-Between (1970), The French Lieutenant's Woman (1980), and The Trial (1993).
The recipient of scores of awards and honorary degrees, Pinter received the Nobel Prize in Literature from the Swedish Academy in December 2005. In its citation, the Academy states that "Harold Pinter is generally regarded as the foremost representative of British drama in the second half of the 20th century."

Biography
Beginning in autumn 1948, for two semesters, he attended the Royal Academy of Dramatic Art (RADA). Later that year, he was "called up for National Service," registered as a conscientious objector, was brought to trial twice, and ultimately fined by the magistrate for refusing to serve. He "loath[ed]" RADA, mostly cut classes, and dropped out in 1949. He had a minor role in Dick Whittington and His Cat at the Chesterfield Hippodrome in 1949-50. From January to July 1951, he attended "two terms" at the Central School of Speech and Drama (a constituent college of the University of London since 2005). From 1951-52, he toured Ireland with the Anew McMaster repertory company, playing over a dozen roles; in 1952 he began regional repertory acting jobs in England; and from 1953-54, he worked for the Donald Wolfit Company, King's Theatre, Hammersmith, performing nearly ten roles. From 1954 until 1959, Harold Pinter acted under the stage name David Baron.

Early theatrical training and stage experience
From 1956 until 1980, Pinter was married to Vivien Merchant, a rep actress whom he met on tour, probably best known for her performance in the original film Alfie (1966). Their son, Daniel, was born in 1958. Through the early 70s, Merchant appeared in many of Pinter's works, most notably The Homecoming on stage (1965) and screen (1973). The marriage was turbulent and began disintegrating in the mid-1960s. For seven years, from 1962-69, Pinter was engaged in a clandestine affair with Joan Bakewell, which informed his play Betrayal (1978). According to his own program notes for that play, between 1975 and 1980, he lived with historian Lady Antonia Fraser, wife of Sir Hugh Fraser. In 1975, Merchant filed for divorce.
Chairman of the Gaieties Cricket Club, Pinter has called cricket one of his three great "loves." The other two are "love" (of women) and "writing" (Gussow, Conversations with Pinter 28-29). "Running" (as a teenage sprinter [29]) and "reading" are two other pleasures that he mentions at times in interviews. Pinter is an Honorary Associate of the National Secular Society.

Personal life
Pinter is the author of twenty-nine plays, fifteen dramatic sketches, over twenty-one screenplays and filmscripts for cinema and television, a novel, and other prose fiction and essays, and co-author of two works for stage and radio. Along with the 1967 Tony Award for Best Play for The Homecoming and several other American awards and award nominations, he and his plays have received many awards in the UK and elsewhere throughout the world. His screenplays for The French Lieutenant's Woman and Betrayal were nominated for Academy Awards in the category of "Writing: Screenplay Based on Material from Another Medium" in 1981 and 1983, respectively. (See Honors.)
Pinter's first play, The Room, written in 1957, was a student production at the Bristol University directed by (later acclaimed) actor Henry Woolf, who also originated the role of Mr. Kidd in that play (which he reprised in 2001). After his longtime friend Pinter had mentioned that he had an "idea" for a play, Woolf asked him to write it so that he could direct it as part of fulfilling requirements for his postgraduate work. Pinter wrote it in three days. There was also a revival of The Caretaker in the West End.
Late in 2001, Pinter was diagnosed with cancer of the esophagus, for which, in 2002, he underwent a successful operation and chemotherapy. During the course of his treatment, he directed a production of his play No Man's Land, wrote and performed in his new sketch "Press Conference" for a two-part otherwise-retrospective program of his dramatic sketches at the National Theatre, and was seen on television in America in the role of Vivian Bearing's father in the HBO film version of Margaret Edson's Pulitzer Prize-winning play Wit. Since then, having become increasingly politically "engaged" as "citizen Pinter", Pinter has continued to write and present politically-charged poetry, essays and speeches, a dramatic collaborative work for radio (Voices), and two new screenplay adaptations of plays by Shakespeare King Lear (unfilmed) and Anthony Shaffer's play Sleuth.

Main career (1957-2005)
On 28 February 2005, in an interview with Mark Lawson on the BBC Radio 4 program Front Row, Pinter announced publicly that he would retire from writing plays to dedicate himself to his political activism and writing poetry: "I think I've written 29 plays. I think it's enough for me. I think I've found other forms now. My energies are going in different directions—over the last few years I've made a number of political speeches at various locations and ceremonies . . . I'm using a lot of energy more specifically about political states of affairs, which I think are very, very worrying as things stand."

Public announcement of retirement from playwriting (2005)
Pinter was an early member of the Campaign for Nuclear Disarmament in the United Kingdom and supported the British Anti-Apartheid Movement (1959-94), participating in British artists' refusal to permit professional productions of their work in South Africa in 1963 and in subsequent related campaigns). In both his writing and his public speaking, as McDowell observes,
Pinter's precision of language is immensely political. Twist words like "democracy" and "freedom", as he believes Blair and Bush have done over Iraq, and hundreds of thousands of people die. Earlier this year [March 2006], when he was presented with the European Theatre Prize in Turin, Pinter said he intended to spend the rest of his life railing against the United States. Surely, asked chair Ramona Koval, he was doomed to fail? "Oh yes — me against the United States!" he said, laughing along with the audience at the absurdity, before adding: "But I can't stop reacting to what is done in our name, and what is being done in the name of freedom and democracy is disgusting." (Qtd. by McDowell)

Political activism
Pinter was appointed CBE in 1966 and became a Companion of Honour in 2002 (having previously declined a knighthood in 1996). He has also received the 1995 David Cohen Prize for Literature , in recognition of a lifetime's achievement in literature, the 1996 Laurence Olivier Special Award for a lifetime's achievement in the theater; a 2001 World Leaders Award for "creative genius"; the 2004 Wilfred Owen Award for Poetry—"in recognition of Pinter's lifelong contribution to literature, 'and specifically for his collection of poetry entitled War, published in 2003,'" and the Europe Theatre Prize, in recognition of lifetime achievements pertaining to drama and theater (conferred March 2006).
Further information: #Artist and Citizen: 50 Years of Performing Pinter

Honors
On 13 October 2005 the Swedish Academy announced that it had decided to award the Nobel Prize in Literature for 2005 to "Harold Pinter", "who in his plays uncovers the precipice under everyday prattle and forces entry into oppression's closed rooms."

The Nobel Prize in Literature 2005
In his controversial Nobel Lecture "Art, Truth & Politics", speaking with obvious difficulty while seated in a wheelchair, Pinter distinguishes between the search for truth in art and the avoidance of truth in politics.

Art, Truth & Politics: The Nobel Lecture
In his first public appearance in Britain since he won the 2005 Nobel Prize in Literature, Pinter participated in "Meet the Author" with Ramona Koval, at the Edinburgh Book Festival, in Edinburgh, Scotland, in the evening of 25 August 2006. Prior to the interview, Pinter read a scene from his play The Birthday Party. (Other recent and "upcoming events" [updated periodically] are listed on the home page of Pinter's official website and through its menu of links to the "Calendar".)

Subsequent interviews, media appearances, and productions (2006 – the present)
Among his other honors, Pinter is the recipient of over fifteen honorary degrees conferred by European and American academic institutions, as well as an Honorary Fellow of the Modern Language Association of America (MLA) (1970). He received the honorary degree of Doctor of Letters from the University of Leeds School of English on 13 April 2007.

Pinter and Academia
In 1986, a group of American academic scholars formed the Harold Pinter Society (an Allied Organization of the MLA); members and individual and institutional subscribers receive The Pinter Review: Collected Essays, at first an academic journal and now a biennial book publication published by the University of Tampa Press since 1987.

Artist and Citizen: 50 Years of Performing Pinter
Goldsmiths College, University of London, established the Pinter Centre for Performance and Creative Writing, inaugurated in June 2003, with Harold Pinter as Honorary President. It is "an interdisciplinary research centre, involving principally the Departments of English & Comparative Literature and of Drama, the latter organising and hosting the Centre, and with links in Media and Communications, Music, PACE and the Digital Studios." So far it has planned three conferences, "one on the work of Stephen Sondheim, and another on African Women Playwrights." Its third conference, Ravenhill 10, was a symposium on the occasion of the 10th anniversary of the first production of Mark Ravenhill's play Shopping and Fucking (11-12 Nov. 2006). The Pinter Centre will sponsor additional conferences in the future, "including one on Black British Drama and a major conference in 2008 to be entitled, 'Pinter, Postmodernism and Contemporary Writing'."

The Pinter Centre for Performance and Creative Writing

Characteristics of Pinter's work
"That [Harold Pinter] occupies a position as a modern classic is illustrated by his name entering the language as an adjective used to describe a particular atmosphere and environment in drama: 'Pinteresque'" ("Bio-bibliography"), placing him in the company of authors considered unique or influential enough to elicit eponymous adjectives. Susan Harris Smith observes: "The term 'Pinteresque' has had an established place in the English language for almost thirty years. The OED defines it as 'of or relating to the British playwright, Harold Pinter, or his works'; thus, like a snake swallowing its own tail the definition forms the impenetrable logic of a closed circle and begs the tricky question of what the word specifically means" (103). The Online OED (2006) defines Pinteresque more explicitly: "Resembling or characteristic of his plays. . . . Pinter's plays are typically characterized by implications of threat and strong feeling produced through colloquial language, apparent triviality, and long pauses."
"Pinteresque"
Once asked what his plays are about, Pinter lobbed back a phrase "the weasel under the cocktail cabinet", which he regrets has been taken seriously and applied in popular criticism:
Once many years ago, I found myself engaged uneasily in a public discussion on theatre. Someone asked me what was my work 'about'. I replied with no thought at all and merely to frustrate this line of enquiry: 'the weasel under the cocktail cabinet'. This was a great mistake. Over the years I have seen that remark quoted in a number of learned columns. It has now seemingly acquired a profound significance, and is seen to be a highly relevant and meaningful observation about my own work. But for me the remark meant precisely nothing.
"The weasel under the cocktail cabinet"
Among the most-commonly cited of Pinter's comments on his own work are his remarks about two kinds of silence ("two silences"), including his objections to "that tired, grimy phrase 'failure of communication'," as defined in his speech to the National Student Drama Festival in Bristol in 1962, incorporated in his published version of the speech entitled "Writing for the Theatre":
There are two silences. One when no word is spoken. The other when perhaps a torrent of language is being employed. This speech is speaking of a language locked beneath it. That is its continual reference. The speech we hear is an indication of that which we don't hear. It is a necessary avoidance, a violent, sly, anguished or mocking smoke screen which keeps the other in its place. When true silence falls we are still left with echo but are nearer nakedness. One way of looking at speech is to say that it is a constant stratagem to cover nakedness. We have heard many times that tired, grimy phrase: 'failure of communication'...and this phrase has been fixed to my work quite consistently. I believe the contrary. I think that we communicate only too well, in our silence, in what is unsaid, and that what takes place is a continual evasion, desperate rearguard attempts to keep ourselves to ourselves. Communicaton is too alarming. To enter into someone else's life is too frightening. To disclose to others the poverty within us is too fearsome a possibility. I am not suggesting that no character in a play can never say what he in fact means. Not at all. I have found that there invariably does come a moment when this happens, when he says something, perhaps, which he has never said before. And where this happens, what he says is irrevocable, and can never be taken back.

"Two silences": a "continual evasion" of "communication"
One of the "two silences"–when Pinter's stage directions indicate pause and silence when his characters are not speaking at all–has become a "trademark" of Pinter's dialogue called the "Pinter pause": "During the 1960s, Pinter became famous–nay, notorious–for his trademark: 'The Pinter pause.'"

The "Pinter pause"

Pinter's cultural influence
A line in "The Ladies Who Lunch", a song in Company, the 1970 Broadway musical by George Furth and Stephen Sondheim, alludes to "a Pinter play."

Some literary allusions to Pinter and his work in Anglo-American popular culture
See main article: Works of Harold Pinter Further information: Works of Harold Pinter#Awards and nominations for plays, Works of Harold Pinter#Awards and nominations for screenwriting, and Works of Harold Pinter#Awards for poetry

Works
One of the actors in Harold Pinter[']s The Birthday Party at the Lyric, Hammersmith, announces in the programme that he read History at Oxford, and took his degree with Fourth Class Honours. Now I am well aware that Mr Pinter[']s play received extremely bad notices last Tuesday morning. At the moment I write these it is uncertain even whether the play will still be in the bill by the time they appear, though it is probable it will soon be seen elsewhere. Deliberately, I am willing to risk whatever reputation I have as a judge of plays by saying that The Birthday Party is not a Fourth, not even a Second, but a First; and that Pinter, on the evidence of his work, possesses the most original, disturbing and arresting talent in theatrical London. . . . Mr Pinter and The Birthday Party, despite their experiences last week, will be heard of again. Make a note of their names.
Pinteresque, adj. (and n.) Brit. /pntrsk/, U.S. /pn(t)rsk/ [< the name of Harold Pinter (b. 1930), British playwright + -ESQUE suffix. Cf. PINTERISH adj.] Of or relating to Harold Pinter; resembling or characteristic of his plays. Also occas. as n. Pinter's plays are typically characterized by implications of threat and strong feeling produced through colloquial language, apparent triviality, and long pauses.

Notes

Baker, William, and John C. Ross. Harold Pinter: A Bibliographical History. London: The British Library and New Castle, DE: Oak Knoll P, 2005. ISBN 1-58456-156-4.
Batty, Mark. About Pinter: The Playwright and The Work. London: Faber and Faber, 2005. ISBN 0-571-22005-3.
Bensky, Lawrence M. "The Art of Theater No. 3: Harold Pinter" (Interview). The Paris Review 39 (Fall 1966). 30 June 2006.
Billington, Michael. The Life and Work of Harold Pinter. 1996; rpt. London: Faber and Faber, 1997. ISBN 0-571-17103-6. Updated 2nd ed. retitled Harold Pinter. London: Faber and Faber, 2007. ISBN 978-0-571-23476-9.
–––. "Passionate Pinter's Devastating Assault On US Foreign Policy: Shades of Beckett As Ailing Playwright Delivers Powerful Nobel Lecture". The Guardian 8 Dec. 2005. 31 July 2006.
–––, comp. "'They said you've a call from the Nobel committee. I said, why?': Harold Pinter in His Own Words". The Guardian 14 Oct. 2005. 31 July 2006.
"Bio-bibliography" for Harold Pinter: The Nobel Prize in Literature 2005. Nobel Foundation and Swedish Academy. NobelPrize.org. Oct. 2005. 31 July 2006.
Bond, Paul. "Harold Pinter's Artistic Achievement". World Socialist Web Site 29 Dec. 2005. 31 July 2006.
Brown, Mark. "What Is It (War) Good for?" Socialist Review Sept. 2003. 31 July 2006.
"Bush and Blair slated by Pinter". BBC News 7 Dec. 2005. 31 July 2006. [Features related links.]
Chrisafis, Angelique, and Imogen Tilden. "Pinter Blasts 'Nazi America' and 'deluded idiot' Blair". The Guardian 11 June 2003.
Eden, Richard, and Tim Walker. "Mandrake: A Pinteresque Silence". Sunday Telegraph 27 Aug. 2006, accessed 31 Aug. 2006.
Freed, Donald. "The Courage of Harold Pinter". Presentation at the conference Artist and Citizen: Fifty Years of Performing Pinter. University of Leeds. 13 April 2007. Online posting. Another America. © Donald Freed, Apr. 2007. Accessed 28 May 2007.
Gardner, M.C. "Harold Pinter's War". Book rev. Another America Journal (Lightning Source, Inc., 2003). Online posting. Another America. Updated May 2007. Accessed May 28, 2007.
Grimes, Charles. Harold Pinter's Politics: A Silence Beyond Echo. Madison & Teaneck: Fairleigh Dickinson UP; Cranbury, NJ: Associated UP, 2005. ISBN 0-8386-4050-8.
Gussow, Mel. Conversations with Pinter. London: Nick Hern Books, 1994. ISBN 1-85459-201-7. Rpt. New York: Limelight, 2004. ISBN 0-87910-179-2.
Higgins, Charlotte. "Edinburgh Festival: Two-act rant from Sean and Harold". The Guardian 26 Aug. 2006. Accessed 26 Aug. 2006.
Hitchens, Christopher. "Commentary: The Sinister Mediocrity of Harold Pinter". Wall Street Journal 17 Oct. 2005, A18. (Online ed. of this article restricted to subscribers.) The Silver Christopher. Znet 18 Oct. 2005. 4 July 2006.
Howard, Jennifer. "Nobel Prize in Literature Goes to Harold Pinter, British Playwright Widely Studied in Academe". Chronicle of Higher Education 13 Oct. 2006. 8 July 2006.
Koval, Ramona. "Books and Writing with Ramona Koval: Harold Pinter". Radio National (Australian Broadcasting Corporation) 15 Sept. 2002. Transcript of interview of Harold Pinter conducted at Edinburgh Book Festival, Edinburgh, Scotland, Aug. 2002.
–––. "Harold Pinter, Nobel Prize-Winning Playwright and Poet, at Edinburgh International Book Festival (transcript available)". The Book Show, Radio National (Australian Broadcasting Corporation), 25 Sept. 2006. Downloadable audio file (MP3) and printable transcript of interview of Harold Pinter conducted at Edinburgh International Book Festival (transcript available)",] Edinburgh, Scotland, 25 Aug. 2006, The Book Show, Radio National (Australian Broadcasting Corporation), 25 Sept. 2006, accessed 26 Sept. (The audio file includes Pinter's dramatic reading of a scene from his play The Birthday Party.)
Lawson, Mark. "Pinter 'to give up writing plays'". Interview with Harold Pinter. Incl. "Pinter on Front Row". Broadcast on BBC Radio 4. Online posting. Last updated 28 Feb. 2005. BBC News. (RealPlayer audio.) 11 Nov. 2006.
Lyall, Sarah. "Playwright Takes a Prize and a Jab at U.S." New York Times 8 Dec. 2006. Correction appended 10 Dec. 2005. 1 Aug. 2006. (Site registration required.)
[McDowell, Leslie.] "Book Festival Reviews: Pinter at 75: The Anger Still Burns: Harold Pinter". The Scotsman 26 Aug. 2006: 5. (Updated 27 Aug. 2006.) 31 Aug. 2006.
Merritt, Susan Hollis. Pinter in Play: Critical Strategies and the Plays of Harold Pinter. Paperback ed. 1990; Durham and London: Duke UP, 1995. ISBN 0-8223-1674-9.
–––. "Talking about Pinter". (On the Lincoln Center 2001: Harold Pinter Festival Symposia.) The Pinter Review: Collected Essays 2001 and 2002. Ed. Francis Gillen and Steven H. Gale. Tampa: U of Tampa P, 2002. 144-67.
–––, comp. "Harold Pinter Bibliography". The Pinter Review 1987- .
Moss, Stephen. "The Guardian Profile: Harold Pinter: Under the Volcano". The Guardian 4 Sept. 1999. 7 July 2006.
Pilger, John. "The Silence of Writers". ZNet 16 Oct. 2005. 5 July 2006.
Pinter, Harold. Art, Truth & Politics: The Nobel Lecture. Presented on video in Stockholm, Sweden. 7 Dec. 2005. Nobel Foundation and Swedish Academy. NobelPrize.org 8 Dec. 2005. (RealPlayer streaming audio and video as well as text available). London: Faber and Faber, 2006. ISBN 0-571-23396-1 (10). ISBN 9780571233960 (13). Rpt. also in The Essential Pinter. New York: Grove P, 2006, as listed below. Rpt. in Not One More Death. London: Stop the War Coalition, 2006. Rpt. in PMLA (Publications of the Modern Language Association) 121 (2006): 811-18.
–––. "Campaigning Against Torture: Arthur Miller's Socks" (1985). ("Written as a tribute to Arthur Miller, on the occasion of his 80th birthday".) HaroldPinter.org 3 July 2006. Rpt. in Various Voices 56-57.
–––. Death etc. 1990; New York: Grove P, 2005. ISBN 0-8021-4225-7.
–––. The Dwarfs. New York: Grove P, 2006. ISBN 0-8021-3266-9.
–––. The Essential Pinter: Selections from the Work of Harold Pinter. New York: Grove P, 2006. ISBN 0-8021-4269-9. [Incl. "Art, Truth & Politics", Harold Pinter's Nobel Lecture.]
–––. "Evacuees". The Pinter Review: Annual Essays 1994. Ed. Francis Gillen and Steven H. Gale. Tampa: U of Tampa P, 1994. 8-13. (First publication of an interview with Pinter conducted by B.S. Johnson in 1968.)
–––. Various Voices: Prose, Poetry, Politics 1948-2005. Rev. ed. 1998; London: Faber and Faber, 2005. ISBN 0-571-23009-1.
–––. War. London: Faber and Faber, 2003. ISBN 0-571-22131-9. (Book rev. by Gardner.)
"Pinter 'to give up writing plays.'" Online posting. BBC News 28 Feb. 2005. 2 July 2006.
"Pinter Wins Nobel Literary Prize". BBC News 13 Oct. 2005. 8 July 2006.
Riddell, Mary. "Comment: Prophet without Honour: Harold Pinter can be cantankerous and puerile. But he is a worthy Nobel prizewinner." The Observer 11 Dec. 2005. 3 July 2006.
–––. "The New Statesman Interview: Harold Pinter". New Statesman 8 Nov. 1999. 1 July 2006. (Limited access.)
Robinson, David. "Books: Doyle Returns to an Old Favourite in New Work; . . . Harold Pinter." The Scotsman 28 Aug. 2006, Living. 28 Aug. 2006.
–––. "I'm Written Out, Says Controversial Pinter". The Scotsman 26 Aug. 2006: 6. 9 Sept. 2006.
Rockley, John. "Neil Pearson Drops in for a Morning Coffee!" BBC Radio Gloucestershire 7 Mar. 2007. 17 Mar. 2007. [Interview with actor Neil Pearson about performing in Old Times at the Everyman Theatre in Cheltenham, England.]
Rose, Charlie. "A Conversation with Harold Pinter". Interview of Harold Pinter. The Charlie Rose Show WNET-TV (New York City) (Public Broadcasting Service). First broadcast on 19 July 2001 from 11:00 p.m. EST to 12:00 a.m. EST. Also broadcast on PBS affiliate channels at various scheduled times. 58 mins. (3-min. preview video clip posted by copyright owner Charlie Rose on Google.) Full-length streaming video accessible directly from the show's website. Accessed May 30, 2007.
–––. "A Conversation with Harold Pinter". Interview of Harold Pinter. The Charlie Rose Show. WNET-TV (New York City) (Public Broadcasting Service). First broadcast on 1 Mar. 2007 from 11:00 p.m. ET to 12:00 a.m. ET. Also broadcast on PBS affiliate channels at various scheduled times. WXXI-TV (Rochester, New York) (Public Broadcasting Service). Broadcast 1 Mar. 2007 from 11:00 p.m. ET to 12:00 a.m. ET. 52 mins., 21 secs. Full-length streaming video accessible directly from the show's website. Accessed May 30, 2007.
Smith, Susan Harris. "'Pinteresque' in the Popular Press". The Pinter Review: Collected Essays 2003 and 2004. Ed. Francis Gillen and Steven H. Gale. Tampa: U of Tampa P, 2004. 103-8.
Sofer, Andrew. "The Cheese-Roll under the Cocktail Cabinet: Pinter's Object Lessons". The Pinter Review: Collected Essays 2003 and 2004. Ed. Francis Gillen and Steven H. Gale. Tampa: U of Tampa P, 2004. 29-38.
"Special Report: The Nobel Prize for Literature: 2005 Harold Pinter". The Guardian Dec. 2005. 30 June 2006. 1 Aug. 2006. [Features related links.]
Traub, James. "The Way We Live Now: Their Highbrow Hatred of Us." New York Times Mag. 30 Oct. 2005. 2 July 2006.
Wark,Kirsty. "Harold Pinter on Newsnight Review". BBC Two 23 June 2006. 1 Aug. 2006. "Interviews: Nobel Prize winning playwright Harold Pinter talks to Kirsty". RealPlayer streaming video of program. 25 June, 4 Sept., & 6 Nov. 2006. Further resources

Harold Pinter: Art, Truth & Politics. © Copyright 2006 Illuminations. All Rights Reserved. Transmission Channel 4, 2005. DVD. 46 mins. (Digital video disc and VHS video recording.) Additional essays and speeches by Harold Pinter

"Harold Pinter's Poetry". Authorized official webpage (incl. "Harold Pinter's Most Recent Poetry", periodically updated).
"Poetry by Harold Pinter". Online posting (with permission of author). Another America. Updated May 2007. Accessed May 28, 2007.
Pinter's print publications of his poems in various collections (such as Death etc., The Essential Pinter, The Pinter Review, Various Voices, and War), and related book reviews (such as "Harold Pinter's War", by M.C. Gardner), as listed above in #References and #Works.