ABSTRACT
One for the Road, is Pinter’s first extended dramatic confrontation with violence as a global, political issue. But Pinter also saw the play’s connection to earlier work such as The Dumb Waiter and The Hothouse, which also dramatize the abuse of authority. The change, which began eleven years earlier with Pinter’s shocked response to the West’s hypocrisy to the overthrow of the Marxist Allende regime in Chile, took shape in his recent work. Steadily, in the ensuing years Pinter found himself increasingly engaged-joining CND, the Campaign for Nuclear Disarmament, and crusading on behalf of prisoners of conscience, participating in rallies-but this was his first play explicitly attacking those issues.
