Pre-eminently an outstanding playwright, a creator of texts in dramatic form for live theatre, radio, television or cinema, Pinter has also composed a significant body of poetry, some short stories, a novel, and a large number of non-fictional prose writings, such as essays, articles, published speeches and letters to periodicals. Included here also are interviews - recorded in print or other media - and interview-based articles, and this bibliography documents other texts generated from Pinter's wide-ranging interests in literary projects, human rights and political causes, with forewords to books, short notes, jointly authored letters, signatures to petitions, declarations and other material.

Introduction

  This bibliographical history aims to provide as comprehensive and as complete an account of the published writings, and other texts, wholly or partly authored by Harold Pinter, as can be managed in relation to certain conditions, among them the absence of closure, and the imperative of having to stop somewhere. At the time of our compiling it, he is still very much a living author, creating new texts, and capable of modifying the forms in which previously composed works may appear. Hence the closure usually present for a substantial author-bibliography is lacking; and effectively, the terminus ad quem for this present volume is October 2004. At this point in time, if one takes into account his published juvenilia, from 1947 onward, Pinter's authorial career already extends fifty-seven years. He is widely regarded as the outstanding English dramatist of the later twentieth century; and one can affirm that his major stature owes much to the sheer cumulative magnitude of his reuvre, over this period, as well as to its often very high quality.

   Harold Pinter is pre-eminently a playwright, a creator of texts in dramatic form for live theatre, radio, television or cinema, and yet he has also composed a significant body of poetry, a number of short stories, a novel, and a large number of non-fictional prose writings, in the forms of essays or articles, published speeches, letters to periodicals, and items in sundry lesser modes. He has given many interviews, recorded in print or in other media; and this type of mixed authorship has here been interpreted generously to include interview-based articles by journalists which quote passages of direct speech. The "Miscellaneous" section comprehends various kinds of minor contributions, such as forewords or short notes, and those of collaborative, joint or implicitly joint authorship, such as examples of the many petitions or letters to newspapers for which he has been one of a number of signatories. In seeking to be inclusive, this section ventures into areas of shared or implied authorship of varying shades of grey.

   Comprehensiveness in the early years of the twenty-first century requires the coverage of authored or partially authored texts in other media as well as print, including for Pinter sound and audiovisual recorded forms, and also items on websites, especially in cases for which at the time of compilation no print medium publication is known.' However, we have sought to exclude instances of D. F. McKenzie, The Panizzi Lectures 1985: Bibliography and the Sociology of Texts (London: The British Library, 1986): "Bibliography is the discipline that studies texts as recorded forms, and the processes of their transmission, including their production and reception...It seems to me it would now be more useful to describe bibliography as the study of the sociology of texts...1 define 'texts' to include verbal, visual, oral, and numeric data, in the form of maps, prints and music, of archives of recorded sound, of films, videos, and any computer-stored information" (pp. 4-5). where Pinter was simply a performer, narrator or director, rather than to some degree the author. (The more important of these instances are noticed in the Chronology.)

   Generally, we have excluded translations into languages other than English from the body of the bibliography, although, where known of, they are noticed in Appendix One (designated the letter "W"). That is, we have not sought to offer a full coverage of them, but have provided it where the data has been readily available. However, items with the texts in English, print-published in non-Anglophone countries, are included in the relevant sections.

   While a virtually complete coverage can otherwise be provided for publication of his dramatic works, and writings in other literary genres, it cannot be assured for other categories. Harold Pinter has given interviews very widely, in the United Kingdom, the United States of America, and other countries, and has delivered numerous speeches. From the mid-1970S onward he has involved himself in movements opposing violations of human rights, in anti-war and anti-nuclear weapons events, and with left-wing radical magazines, such as Red Pepper. While many of his writings relating to these causes and interests have been noticed here, we cannot claim to have identified them all, and in some cases information is incomplete. As observed above, one has to stop somewhere. In compiling listings of items, especially in non-literary categories, we have been much assisted by several existing enumerative bibliographies which cover Pinter's writings (as well as secondary sources), notably Rudiger Imhof's Pinter: A Bibliography (London: TQ Publications, 1975), Steven H. Gale's Harold Pinter: An Annotated Bibliography (Boston, MA: G. K. Hall & CO., 1978), and, from 1989 onward, Susan Hollis Merritt's bibliographies in the annual volumes of The Pinter Review. Malcolm Page's File on Pinter (London: Methuen Drama, 1993) has also been useful. We have also benefited from the work of Ms Leticia Dace, who has kindly permitted us to draw upon her notes. To these scholars we are very much indebted, and gratefully acknowledge their fine work. A bibliographical history goes beyond the scope of a descriptive author bibliography, in seeking to offer a kind of documentary biography of the author, in terms of his or her published writings, to signal connections between these writings, and (as appropriate) to document the history of each of them. In approaching this task, for Harold Pinter's works, the application of the concepts of authorship, text and publication can often prove problematic.

   With his works in dramatic modes, for live theatre, radio or television, his authorship of the texts is usually clear-cut, with only a few, clearly acknowledged cases of explicit collaboration. They were initially designed as scripts for productions and in most of their subsequent print manifestations have been modified for reading, although acting editions retain the function of scripts. He has sought to retain firm control over their dialogue, and has himself cut or re-written it, as it has appeared in revised printed editions, with little if any direct input from directors or actors. However, presentations in the various media naturally involve significant dimensions of collaboration and social production; and these cuts and re-writings have sometimes manifestly resulted from experience within the production process, as can be seen from promptbooks, especially when Pinter himself was involved as the director, or was working closely with a director, with a particular cast of actors, and evaluating audience responses. Thus some degree of indirect influence from other agents cannot be wholly ruled out.

   Moreover, given that a dramatic text comprises not only lines of dialogue, but also stage directions, and other "apparatus," then in the American acting editions especially, where these features sometimes diverge from those of the standard editions, the variants may well have originated from some director's notations on a script being used as a copy-text, perhaps with Pinter's approval. Still, the most extensive re-writing and re-formatting have come about when Pinter himself has adapted a work initially designed for one medium for one of the others, responding to its differing exigencies.

   With Pinter's screenplays, the authorship situation is more complex than for his works in other dramatic modes. Although he has adapted four of his own plays for film (The Caretaker, The Birthday Party, The Homecoming and Betrayal), the adapted scripts have not appeared in print, and nearly all of his screenplays so far published have been adaptations from novels by other authors (the one exception, The Dreaming Child, derived from a short story; another screen adaptation, unpublished, that of Simon Gray's Butley, was of a play he had directed for the stage). Moreover the final form of the shooting script inevitably involves input from other agents. In two relatively extreme cases, he has not published the screenplay of Margaret Atwood's The Handmaid's Tale, because so little of his original script was retained unchanged; and he declined to appear as one of the authors of the eventual script of the film of Kazuo Ishiguro's The Remains of the Day, although "there are still seven or eight scenes in the finished film that [he] wrote" (Billington 304, 324). Nonetheless, he could claim in 1995 that of the "twenty-two film scripts" he had written, up to that time, "seventeen have been made exactly as written; that's not too bad a statistic, given the nature of the movie industry" (Billington 324). Since then he has written two more.

   In relation to some of the other genres, grey areas of mixed, shared or implied authorship have already been noticed. And what is one to make of the contents of theatre programmes for stage productions for which Pinter was the director? While not necessarily their author, he may be assumed to have authorized them. However, we have come across only one instance in which a programme note was signed (for the 1980 first production of his own play The Hothouse); otherwise, this genre has been disregarded.

   The status of Pinter's works and of their publication can also be problematic, raising challenges for devising appropriate methodologies for documenting them. Any such work may be a play, a poem, a radio talk, a television interview, or whatever, and its text manifested in one or more recorded verbal forms (in some categories, involving sound or audiovisual elements as well). The work and its essential text can appear in two or more distinct versions, either because he has adapted a work written for one medium to suit another, or because he has substantially revised the text, while it still remains within the same medium and genre (or sub-genre).

   With Pinter's texts in dramatic form inherently scripts for performance, it could, on one hand, be claimed that in the fullest sense the text may be the performance itself. However, for live theatre, any such performance is an ephemeral happening, and strongly distinct in its nature from any form of recording that could be made of it. On the other hand, a sound recording of a radio presentation preserves what the listeners heard, and the video-recording of a television production, or a copy of a film, similarly has a semi-permanence as the recorded and replayable form of the fully realized work to which the script was aiming. Hence these recorded forms must be given some coverage; nonetheless, they can not be said to be "authored," and accordingly they are given attention within Appendix One, rather than within the main sections.

   Taking only the narrow definition of publication as print-publishing for public sale, a published entity may be constituted by its containing the text of just one particular work, or by its containing the texts of a particular combination of works, whether two, or three, or many. Any such published entity may have concrete forms in a number of manifestations, either as different editions or reprintings of the same textual version(s), or including editions to some extent revised, incorporating different versions of one or more of the one or more texts contained. Where the entity contains the text of a single work, other manifestations of this entity can include an appearance in print of the text within a serial, or within an anthology, along with works by other authors.

   For example, the published entity Landscape and Silence (A28), as first published by Methuen in 1969, includes the texts of three works, the third being the sketch "Night." It was reprinted in Britain in 1970, and subsequently, and by Grove Press in the United States, with the first of a series of printings in 1970. Each of these reprints or printings is a further manifestation. However, in this case, the American acting edition entitled Landscape and Silence (A33), published by Samuel French, New York, in 1971, is a distinctly different entity, because it does not include "Night." Moreover, Landscape has also appeared as a separately published text (A27), in book form, and other manifestations of this entity include publication within an issue of the magazine Evergreen Review, and within an educational anthology.

   For another example, The Dwarfs as a dramatic work first appeared as a radio play written and broadcast in 1960, and published in 1961, and as a stage play first published in 1966, and then in a revised form in 1968. This can be considered a single work, with one radio version and two stage versions; but the published entities are the particular combinations of texts, such as A Slight Ache and Other Plays (Methuen, 1961) (A12), Three Plays (Grove, 1962) (A13), or The Dwarfs and Eight Revue Sketches (Dramatists Play Service, 1965) (A21), in which it has appeared.

   This bibliography is primarily concerned with documenting such published entities, in their various manifestations. It identifies substantially different versions of the text of each work, but does not notice the presence of minor textual variations. Sections A to I are concerned essentially with print-published entities. Section J deals with "sound" entities, mainly involving works published in a wider sense by being broadcast on radio, and in most cases preserved in recorded forms, either on long-playing records, tapes, or CD discs, or at least as typescript transcripts of the verbal texts. Section K deals with audiovisual entities, for the most part television items, published by being transmitted, and potentially or actually preserved on film, videotape, or videodisc. In addition, some items up to this time have been "published" only on a website (often www.haroldpinter.org); nonetheless, they are too few to justify the creation of a separate section, hence are included within the relevant generic sections.

   While Sections A to K cover these categories of entities, more can still be done to bring together the "histories" of the more substantial works to fulfill some of the other functions of a bibliographical history. This task is undertaken in Appendix One, which addresses these works, in terms of their estimated order of composition, and provides for each of them brief documentation of the various recorded forms in which its textual versions may have appeared. For the sake of bringing such documentation coherently together, details of radio, television or film productions, presentations or recordings of works which have also been print-published are documented here rather than within Sections J or K, which are confined to those items which have manifestations only in the sound or audiovisual domains, with their appropriately recorded forms.

   Moreover, while it is not the business of a bibliography to document the composition of the texts of works, in the case of Pinter, a contemporary author who has deposited most of his manuscripts and pre-publication typescripts in the Pinter Archive in the British Library, relatively brief notice can be given to these in Appendix One. They include not only holograph and typescript drafts, but also duplicated typescripts (in a few cases, limited-issue printed scripts) which have been created for use for the earliest stage productions, prior to the first editions being issued for public sale. There are also some duplicated typescripts used for radio, television or film productions. These documents can be said to be "published" in the very broad sense of being duplicated in multiple copies and distributed. Nonetheless, it is useful to retain a distinction between this sense and the normal sense of print-publication, of being issued for public sale; hence they are dealt with in Appendix One, rather than in the main body of the bibliography.

   In relation especially to the print-publication for public sale of dramatic works, dealt with in Section A, it can be seen that Pinter's career has bridged a major transition in technology. The earliest printings of his first dramatic works would have been typeset using a linotype or Monotype machine, or the equiva¬lent, and printed offset with photolithographical plates, with subsequent revisions carried out through cutting and pasting of the plates, and patching-in of new material. Certain later titles were photoset, using a process whereby keying-in each letter led to its reproduction on a photographic negative. Later still, the works have been computer typeset, and exist in the first instance on a computer file, from which print-publication can be carried out. The practical consequences of textual revision have derived from the technical processes involved; for example, in revised editions of The Birthday Party, the process of cutting and pasting of litho plates has sometimes observably resulted in uneven vertical spacing, and the short-term retention of brief stage-directions that have no longer related to their contexts (see Ale, notes).

   At each stage, the standard American editions published by Grove Press in New York have largely followed the British editions line-for-line, hence it may be that in the earlier period a duplicate set of the plates was sometimes made available to Grove; however, no information has been obtained as to what kinds of commercial cooperation may have occurred between the British and American publishers. In any event, revisions in the British editions have been followed soon after in the successive printings of the Grove editions.

   Very brief accounts of such revisions are provided in Appendix Two, A. However, fully detailed documentation and discussion of textual revisions of dramatic texts would be beyond the scope of this bibliography. For a few plays, these revisions have aleady been the subject of article-length studies, e.g., Gerald M. Berkowitz, "Pinter's Revisions of The Caretaker," Journal of Modern Literature, 5: I (February 1976): I05)-n6.

   The basic ordering principle within all sections and appendices is chronological. Within Sections A to I, this entails the order of publication of the first manifestations in print of published entities, with the first entry for each entity then followed by those for its subsequent manifestations. With Sections J and K, it normally entails chronology of first presentation, by radio broadcast or television transmission, although sometimes the only relevant or known date is of recording.

   This ordering sometimes differs quite substantially from the order of composition or from that of first live theatre performance, or of first radio or television presentation. For example, Pinter's first written and performed play was The Room, premiered at the University of Bristol on 15 May 1957, but it was not published until 1960 (A4; W5); his first published play was The Birthday Party, premiered in Cambridge on 28 April 1958 and first published in 1959 (Al; W6). Both of these other kinds of ordering are addressed in Appendix One, where the basic order is by general period of composition, and first performances or presentations are noted within the biographical timeline in the Chronology.

   Within the main body of the bibliography, the essential division between sections is generic. All the same, it must be acknowledged that, as an adventurous writer working in a number of genres, Pinter has published some writings that cross over these generic boundaries. For example, "Dialogue for Three" (Al5) was published as a prose piece in dialogue form, and also broadcast on radio, and printed, as a dramatic sketch. "Tess" (DB) has been staged as a sketch and print-published as a short story. "Episode," published as a poem, is a series of monologues in verse, reflecting a dramatic situation of sexual jealousy (see 18, Note one). Published collections also belie their titles, with, for example, Poems (1968) including the short story "Kullus," and the Methuen Plays volumes including prose pieces (see 13, 11). Indeed, any organising principle for this bibliography encounters a few exceptions; and such items have to be assigned to one section or another on the basis of common sense, with noting of their generic double nature. Items which came to our recent attention in the later stages of work on the bibliographical history are assigned an "N.' as part of their designations (for instance H2A is Pinter's contribution to the National Book League [NBL] pamphlet Celebrities' Choice).

   Section A brackets plays for the stage, radio and television, firstly because some of the published volumes contain dramatic works designed for more than one of these media, and secondly because some of the plays, initially composed for one of them, were then adapted for presentation in one of the others, with the later versions sometimes replacing the first versions in the published volumes. The distinction between plays and sketches derives solely from relative length, and in practice there is no clear division between sketches and very short plays. Hence, sketches have generally been treated in the same way as plays.

   As indicated, entities in Section A are dealt with in chronological order in terms of the estimated earliest publication in print of each play (when it occurs in a single-play volume, or within a periodical, or, for one sketch, within a book), or of each volume containing a combination of two or more plays. Then follow all subsequent publication of this play (in a single-play volume, or periodical), or of this combination of plays. Where several entities received first publication in the same year, in the United Kingdom or in the United States of America, the precise datings of their earliest publication are not always known, and accordingly the relative ordering of them is based upon estimated rather than definitely known datings, and cannot always be definitive.

   Where the play has appeared in more than one manifestation, the order of categories adopted is: standard (i.e., readers', or, trade) editions, educational (or, students') editions with notes, acting editions, and anthologies. Within each category, British publication precedes American publication, except for one or two cases of anthologies where the American publication clearly appeared first (e.g., A2n, A2o). In most cases, the American publication of an entity corresponds to the British ones. Occasionally, however, a particular combination of plays was published only in the United States, constituting a distinct entity (see, e.g., A1O, All). For some titles, in addition to the standard (trade) editions, there are collectors' editions, numbered and signed by the author; these are ordered within the series of standard editions. The one sub-category which has not been systematically pursued (one of relatively minor significance) is that of Grove Press Book Club or Book of the Month Club editions, although a few examples have been recorded. For another category, informally published items, two exceptionally interesting instances are included (A3, A9); others, however, are included in Appendix One.

   Section B covers Harold Pinter's published screenplays. While they have an obvious affinity with play-texts written for television, in practice there is a clear division, in that virtually all the works designated on their title pages as screenplays are adaptations from other authors' novels, or, in the case of The Dreaming Child, from a short story (moreover, many of them are structured in terms of shots). Inevitably, there is an exception, the television version of Party Time, designated on its title page as a screenplay, but dealt with in Section A (as A49b) instead of Section B, to associate it with the stage version of this work (A49a), and with the other television plays.

   A number of the screenplays Pinter has written have remained unpublished. They include his adaptations for cinema of four of his own plays initially written for the stage, or for television, as mentioned above (for details, see Appendix One); and several other screenplays that Pinter has written have not been published, either because they were not used at all, as in the case of Lolita, or were made use of in such a partial or mangled way that Pinter declined to acknowledge his share in authorship of the final shooting script; these are noticed only in Appendix One. His recent film adaptation of Shakespeare's play The Tragedy of King Lear has not yet been filmed or published.

   However, The Compartment (B1) does merit inclusion in Section B, because of its great interest as Pinter's only original screenplay, and one of his earliest efforts in the genre, despite the fact that it has only been informally published, in duplicated typescript. And given that a number of the volumes recorded in this section are, already, groups of screenplays, the three-volume Faber and Faber Collected Screenplays is also dealt with within it, rather than in the Collections section. Of the screenplays included in this collected edition, only The Dreaming Child had not been previously published.

   Section C deals with Pinter's poems, published individually, within serials, as opposed to some which were first published within collections of his poems, which are covered in subsection 2 of the Collections section. Regrettably, it has not always been practical to pursue the full details of pagination, or even of precise dating, for all items; or example, for the poem "Restaurant" (C26), the list of first publication, given in Collected Poems and Prose (Faber and Faber, 1991), p. [II9], cites only "Daily Telegraph, 1989," and a search of earlier issues of this newspaper, for that year, did not discover it. It may be that earlier publi¬cation of some poems remain unidentified. The Pinter Archive in the British Library contains drafts of some poems for which no publication has been identified; it may be that one or two of them did get published somewhere.

   Section D deals with Pinter's prose fiction, including one novel, The Dwarfs, but otherwise short stories. His earlier stories and poems are of particular interest because they explore certain themes, such as dominance-struggles for territory or sexual possession, later given fuller exploration in the plays.

   Section E covers published articles, essays and speeches, bracketing these because a text originally composed for delivery as a speech could then become part or all of the text of an article or essay. From the 1980s onward, many of these items have had to do with radical political causes and protests. Some have come into being as acceptance speeches for honorary degrees. As with the poems, it has not always been practical to ascertain details such as pagination, notably in cases in which the item has been seen on a newspaper's website, where it is not provided. Some very short, or jointly authored, prose pieces are to be found in Section H ("Miscellaneous") rather than here.

   Section F deals with Pinter's letters to editors published in newspapers or magazines. This excludes letters for which he is only one of the signatories, and which are covered in Section H. Section G covers print-published interviews and interview-based articles, in newspapers or magazines. The second category comprises articles by journalists which do not have a question-response structure, and yet incorporate substantial passages of direct speech, deriving from an interview with Pinter, rather than merely being reproduced from some previously published source.

   Section H ("Miscellaneous") covers a wide range of kinds of items. As already indicated, they include brief contributions to various publications, letters to newspapers or petitions with multiple signatures, volumes edited by Pinter, and so forth.

   Section I ("Collections and Selections") is divided into two sequences, one of collected plays (but with the volumes including also some short prose pieces), and the other of volumes of poetry and prose.

   Sections J and K deal with sound and audiovisual entities, respectively, such as are not broadcastings of works also published in print (which are dealt with in Appendix One).

   Appendix One, as indicated, deals with the individual works, ordered in chronology of estimated order of composition, in accord with the "Chronology" list published in the Methuen Plays volumes. Appendix Two addresses briefly the issues of substantial revisions of some play-texts and promptbooks.

   The formatting and conventions of description employed differ for the different sections, as appropriate to their generic areas and modes of publication. For Section A, where the majority of the items described are books, the formatting generally follows that of Donald Gallup's Ezra Pound: A Bibliography (Charlottesville, VA: University of Virginia Press, 1983), Number 7 in the St Paul's Bibliographies series, and of other publications in this series, including B. C. Bloomfield's Philip Larkin: A Bibliography 1933-1994, Revised and enlarged edition (London: The British Library; New Castle, DE: Oak Knoll Press, 2002) (first edition 1979). However, more fully-detailed descriptions are provided of bindings and dust jackets, and fuller accounts of contents, to clarify the disparities between different manifestations. Where the notes to an entry deal with very disparate topics, they are sometimes presented in separately numbered notes, rather than being juxtaposed within a single paragraph.

   Given that the majority of publications are British, this situation is the "default," and the country of publication is identified only when it is not the United Kingdom. Similarly, where theatres are referred to, they are London theatres unless otherwise indicated.

   In transcription of lettering, the use of italic is identified, but not of bold type, because of the difficulty of doing so consistently, given that the standard modes of some typefaces appear bolder than those of others do. Use of bold lettering on bindings is sometimes quite common, and some features, such as "ff" used as a device for Faber and Faber, are normally in bold. Uses of decorative typefaces are noted, with no attempt to identify the face. Typesize difference is represented only when two sizes of type occur in the same line. The colour of lettering, rules, devices or decoration on title pages, bindings and dust jackets is black unless otherwise indicated; in some instances where other colours are present it is specified that some words, etc., are in black. Indications within square brackets of colour of lettering, or of an unusual typeface, apply only to the line of lettering immediately following, unless otherwise specified (where the lettering is down the spine, they apply to all lettering up to an indication of a change in colour or style). Similarly, reproduced photographs are black-and white unless otherwise specified.

   For binding-modes, the stock terms "hardback" and "paperback" are employed, although for the latter the cover material is usually light card, offwhite or unpigmented on the inside (Dramatists Play Service volumes are bound with coloured card). Some hardbacks are "quarter-bound," that is, bound with coloured cloth (or sometimes leather) around the spine of the book, and extending several centimeters across the front and back boards, with the rest of the boards bound in some other cloth, or coloured paper. Where the same edition has appeared in both hardback and paperback bindings, where seen, both are described. Dust jackets for hardback copies are described when these have been seen; however, for copies in libraries, they have often been disposed of, and it has not always been practical to pursue copies retaining them. Usually, the dust jacket is similar to the paperback binding, with some material on the front and back flaps of the jacket that is to be found on the back cover of the paperback.

   Pagination conventions broadly follow those of the St Paul's Bibliographies series. The fact that some of the first pages in the preliminaries are unpaginated is disregarded in the account of pagination, where they clearly have implied pagination within the main sequence, in relation to the first numbered page, or do so within an established preliminaries sequence in small Roman numerals (unlike Gallup, we take no account of whether the first numbered page is a recto or a verso). On the other hand, preliminaries leaves that precede either kind of sequence, and that bear printed matter, are identified simply as "leaves," and those with none as "blank leaves." At the end of the book, if the last page bearing printed matter of any kind is paginated, then the pagination extends only to its page number; thus, if this last page, p.65, say, is a recto, and the verso is blank, the pagination account would be 65 pp. If there were to be some printed matter on this verso, it would be 65, [I] pp. If there were to be one or more further leaves bearing some printed matter, they would be noted as "1 leaf," or, as it may be, "2 leaves," etc., with blank leaves also counted. Where there are single blank leaves at both the beginnings and the ends of books, these are generally noticed simply as endpapers, except in cases where they clearly belong to the gatherings bearing text. The abbreviation "pp." is used for "pages," rather than "p.," to avoid confusion with that for "pence."

   Within the "Contents" note, unpaginated pages are designated by their implied page-numbers being within square brackets; and preliminaries pages that precede any identified sequence are designated with small Roman numerals within square brackets, where these numerals are not already being used, otherwise with "a," "b," etc. Inserted leaves are designated by the addition of "a," "b," etc. to the number of the preceding page.

   With typescript items, typed matter and pagination are usually present on the rectos of leaves only. Hence, for example, "36 pp." indicates thirty-six leaves, paginated on the rectos 1-36, with the versos blank.

   Measurements of leaf-dimensions are in centimeters, height by width. Rules that extend across a full width are not measured; otherwise their length is normally indicated in centimeters (sometimes simply as "short rule"). In many instances it has been impractical to include detailed signature statements, however, in some cases, where especially interesting, these are noted (see for instance A20a, A34a).

   Data as to exact publication dates, subsequent printings, and numbers of copies printed are provided when known, usually derived from publishers' records (for some of them, we gratefully acknowledge indebtedness to Ms Letitia Dace's research notes). However, it has often not been possible to find out these details. Such information is usually provided only for the first impression or printing of the first edition, but when they are readily available for others, they are included. A rough indication of the month and day of publication is usually provided by the British Library accession date-stamp, or, for American editions, by the Library of Congress registration date. However, for first impressions of British publications, sometimes the British Library accession slightly precedes the official publication date, provided to us by the publisher, and for later reprints, or for American editions, may follow long after it.

   Whenever possible, copies described have been of the first impressions of the first British editions, and of revised editions, and the first printings of American editions, and the first to incorporate revisions, but in a few cases, mainly with American editions, the nearest printing has been described. Generally, little attention has been accorded to subsequent straight reprints, even though these can sometimes involve a change of publisher (for example, recently various Grove Press publications have appeared for sale in Britain through Avalon Travel Publications; and an edition of the collected plays has been issued by Penguin Books Canada). Locations of copies are given only in the case of special copies, that is, authorially signed and numbered copies, or other significant association copies.

   We have where practical examined two or more copies in each instance. Many of those seen have been in the British Library (which has not preserved dustwrappers of hardback copies), or in the personal collection of Dr William Baker. Where copies of American editions have been interloaned from American libraries, some have had dust jackets and others have not, which has in a few cases caused uncertainty about the status of a Grove Press volume with a special setting, since the only explicit identification of a Book Club edition is to be found on the dust jacket.

   In referring briefly to publishers, "Methuen" is being used as a blanket term for Methuen & Co., and its successor firms Eyre Methuen, Methuen London, etc., "Faber" for Faber and Faber, and "Grove" for Grove Press and Grove Weidenfeld (with the Evergreen and Black Cat series).

   With Sections B and I the same degree of detail is provided as for Section A, except that in the first subsection of Section I a simplified form of the contents is provided. With Sections C to H, a simplified form of titles is provided, except for those items which are books. Where the title is that of a poem, short story, article or interview within a periodical or newspaper, where it has been seen, it is given in the form in which it occurs. Otherwise it is given in a standardized style, with capitals and lower case; so, this style does not necessarily represent that in which the title appeared. Similarly, other details are provided in a standardized, simplified form. A few items, which are books, such as the novel The Dwarfs in Section D, are given more detailed descriptions.

   With Appendix One, an ad hoc format has been adopted to provide summary information about the composition, live performance or presentation via radio, television or film, and publication, of the various works. Given that for the films later reproductions are of the nature of copies with a different technology, no attention is given to video cassettes or DVD videodiscs.

   The primary items of concern for an author bibliography are, properly, published items, but in the case of Pinter, a modern author still active in the early years of the twenty-first century, some notice needs to be accorded to the availability of other resources. Outstandingly, there is the Pinter Archive (PA), lodged as Loan no in the British Library. This major collection of manuscript and typescript materials, for most of his works, was handed over by Harold Pinter on long-term loan to the British Library on 13 September 1993. These materials were initially divided up into 61 boxes, with later lodgings of documents relating to later writings up to the end of 2001 bringing the collection up to 74 boxes.

   Some composition documents for the earliest plays had been left in the house in Hanover Terrace, Regent's Park, which Pinter had shared with his first wife, Vivien Merchant, and although he later returned to look for them, he could not find them. No materials survive for The Room, The Dumb Waiter, The Birthday Party (as a play), A Slight Ache, A Night Out, or for most of the early sketches. Three typescripts of The Caretaker as a stage play were sold to the Lilly Library, University of Indiana, Bloomington (which also has a few documents relating to radio sketches); however, the Caretaker box in the Pinter Archive does include one such typescript, with the remaining items relating to the adaptation for the film.

   The contents of the collection have been listed in the British Library finding list, compiled by Dr Sally Brown; and they have been the subject of two substantial articles in The Pinter Review: by Susan Hollis Merritt, "The Harold Pinter Archive in the British Library," TPR 1994: 14-53; and by Steven H. Gale and Christopher C. Hudgins, "The Harold Pinter Archives II: A Description of the Filmscript Materials in the Archive in the British Library," TPR 1995: 101-142. In providing a summary account of documents relating to Pinter's screenplays, we are glad to acknowledge further information provided by Steven Gale and Christopher Hudgins. In our listing of items within each box, we are sometimes simply reduced to a "best-guess" rendition of their proper chronological order. The contents of the boxes may change from time to time as new material is deposited.

   A significant cache of uncorrected proof copies of published volumes, and of duplicated typescripts issued for hire for early theatre-productions of stageplays, can be found in the Pinter Collection in the Harry Ransom Humanities Research Centre at the University of Texas, Austin.

   The British National Sound Archive (NSA), lodged in the British Library, includes an extensive collection of recordings of Harold Pinter's works in performance, or of performances or occasions in which he was involved, many of them from the BBC, as preserved recordings of radio broadcasts. Most are acoustic recordings but there are also a few video cassettes, including a video reproduction of the film of The Caretaker, and a video of the television production of Mountain Language.

   The National Theatre Museum in London contains in its theatre-related material relevant to Pinter three folders of press-cuttings, one prompt book (for a Prospect Theatre production of The Birthday Party, using leaves from French's first edition, interleaved with unlined leaves on which there are many stage¬directions in pencil), and a large number of theatre programmes of plays by Pinter, or authored by others and directed by him. Relatively few of these programmes, that have been seen, contain programme notes about the plays, and very few of these notes are evidently or possibly by Pinter.

   The Shakespeare Centre in Stratford-upon-Avon holds some prompt-scripts used for Royal Shakespeare Company productions of Pinter's plays. Likewise, the Archives Centre of the Royal National Theatre in London holds promptcopies of National Theatre productions of them. The BBC's Written Archives Centre at Caversham Park, Reading, has documents about many of Pinter's dealings with the BBC, for performances as an actor or narrator, talks, and recordings and broadcasts of his plays, as well as scripts preserved in its script library. Some resources relating to live theatre productions in New York are held in the New York Public Library, especially in the Billy T. Rose Theatre Collection. The British Film Institute, with the associated British Film Library and Information Services, in London, holds in the National Film and Television Archive some viewing copies of films, as well as some videos of television items, and, in the Library and Information Services, copies of film-scripts and pressbooks for the films for which Pinter wrote the screenplays which were produced by British companies, and a file of press-cuttings. Comparably the American Film Institute may hold some copies of films, and related materials, for films produced by American producers; certainly very substantial resources in this area are held by the Library of Congress in Washington. Some further material for the four films on which Pinter worked with Joseph Losey are in the British Film Institute, in the Joseph Losey Special Collection.

   What one can propose, from pursuing this study, is that Harold Pinter may well have derived from his writing of poetry in the 1950S, before he came to the writing of plays, a degree of confidence and competence in the constituting of texts from a concatenation of disjunctive utterances and verbally-evoked images, held together by complex rhythms. From his early experiences as an actor he derived a sense of what can be made to work in the theatre, together with much reading, notably of Samuel Beckett.

   Thereafter, while his manifold activities as a director of, or actor in, numerous stage-plays, television and radio dramas, or films, scripted by other writers, can be noticed here, when at all, only in the Chronology, nonetheless, a recognition of the extent to which he has been, and to some extent continues to be, a man of the theatre, in a broad sense, is vital for an adequate appreciation of the progress of his own dramatic writings. His increasing eminence has meant that he has been able to select which projects he would direct or act in, and yet there is plenty of testimony to his gift for engaging with the spirit of works by other authors, and for respecting and seeking to preserve their integrity. Hence, while he has developed his own distinctive authorial "voice," he has remained open to the challenges and stimuli deriving from such engagement. Shifting ideas and techniques have advanced dialectically through such engagement and openness.

   Since 1973, when he was responding to the shock of the United States-induced military coup that overthrew the democratic government of Chile, and installed a murderous military dictatorship, Pinter's progressive engagements with political and humanitarian causes, though not with any political party, have led to a large body of non-literary writings; and these concerns have spread over to most of his later plays as well. He has, evidently, however, retained a grasp of the distance between art and propaganda.

   Some of the political articles have been made available in the volume Various Voices (London: Penguin, 1998); yet we can dare to hope that the more comprehensive guide to these writings provided in our bibliographical history, with its annotations of entries, will serve to encourage people to seek wider understandings of the dialectic between Pinter's literary and non-literary writings.

   This study remains however in several senses work in progress. For some items, mainly in Sections E, G, J and K, certain details remain undiscovered; yet we have provided whatever information has been available, to advance the search for them. From another perspective, Harold Pinter is still writing, and long may he continue to do so.