[Especially] when dealing with a play as multileveled and enigmatic—a few might even say, and not without some justification, as obscure—as Harold Pinter's No Man's Land (1975), no single interpretation of the work can be exhaustive. Even contradictory readings are to be expected, but I hope instead to offer one that complements and extends the many illuminating critical comments that the play has already generated. There has been, for example, no dearth of suggestions as to the meaning of the title—almost always a key to puzzling out a Pinter play…. Pinter's text invites us to go even further [than previous interpretations of the title] and supports our equating "no man's land" with Death. Thus the work might profitably be seen as a summoning-by-death play, in which case it shares certain similarities with the pattern, though not with the philosophy, of the medieval moralities.

But what does...