SOURCE: Steyn, Mark. “Politics & the ‘Pinteresque.’” New Criterion 15, no. 3 (November 1996): 32-6.

In the following essay, Steyn discusses elements of political commentary in Pinter's plays.

Harold Pinter likes to tell a story against himself. A year or two back, he was flying to Miami and, as a ferocious scourge of the United States government, expected trouble at immigration. “But I was ready for them, I was ready for them,” he says. He handed over his British passport and the immigration officer examined it intently. “Pinter,” he said, slowly, and paused. “Would that be the dramatist Pinter?”

“Yes!” snapped Pinter, aggressively, preparing to launch into a diatribe on how outrageous it was that a country that claimed to be a democracy should attempt to impede his passage.

“Well, welcome to the United States, Mr. Pinter,” said the officer, cheerily. “Enjoy your stay.”

The most striking thing about the anecdote is...