Hare once confessed, albeit wryly, that he can only write about the middle classes; and while it is true that he can pen convincing dialogue for Chinese peasants or zonked-out rock musicians, his most memorable creations stem from the highly articulate but often emotionally sterile bourgeoisie. Hare is particularly concerned with the sufferings of intense and virulently honest people (often women) caught up in the cloying, claustrophobic and tightly knit society of establishment Britain, whether it be the suburban delights of stockbroker Guildford, the groves of academe or the post-Suez diplomatic service.

In Hare's plays the rules of the game are often the only important factors. Those who survive are those who know the rules. (p. 118)

Knuckle is a fascinating piece of writing, on one level an affectionate parody of the clipped style of the labyrinthine thriller, and indeed of the drama of parental discord (Curly's stockbroker father...