David Mamet

Mike Hodge, periodista del Tribune, conoce como nadie la cara más oscura de Chicago. Veterano de la Gran Guerra, es un tipo acostumbrado a moverse por una ciudad de la que se están adueñando los gánsteres tras la promulgacion de la ley que prohibe el alcohol. Mike tan solo se muestra inseguro ante Annie Walsh, una chica irlandesa de la que se enamora al frecuentrar su floristeria. Pero esa incipiente historia de amor se ve truncada cuando un desconocido mata a tiros a Annie. Presa de la desesperacion, Mike acaba tomando una decision drastica: se adentrara en los bajos fondos de la ciudad para atrapar el culpable cueste lo que cueste.

La direcció d'una agència immobiliària proposa una competició als seus treballadors: qui vengui més guanyarà un Cadillac, el segon rebrà un joc de ganivets de cuina, la resta seran acomiadats. S'esta

Mike Hodgeveteran of the Great War, big shot of the Chicago Tribune medium fryprobably shouldn't have fallen in love with Annie Walsh. But then maybe the guys who killed Annie Walsh shouldn't have messed with Mike Hodge… In Chicago, David Mamet has created a bracing, kaleidoscopic page-turner that roars through the Windy City's underground on its way to a thunderclap of a conclusion. Here is not only his first novel in more than two decades, but the book he has been building up to for his whole career. Mixing some of his most brilliant fictional creations with actual figures of the era (among them Al Capone), suffused with trademark "Mamet Speak," richness of voice, pace and brio, and exploring--as no writer can--questions of honor, deceit, revenge and devotion, Chicago is that rarest of literary creations: a book that combines spectacular elegance of craft with a kinetic wallop as fierce as the February wind gusting off Lake Michigan.

Mamet no para. Su output es sorprendente. Y no lo son menos sus logros, reconocidos con premios como el Pulitzer; patentes en obras como Glengarry Glen Ross, Perversidad sexual en Chicago, Oleanna o Edmond; en espléndidos guiones cinematográficos como Hoffa, Los intocables o El cartero siempre llama dos veces; o en sus propias películas: Juego de emociones, Las cosas cambian, Departamento de Homicidios... Se ganó un lugar en el teatro en los setenta, uno en el cine en los ochenta; en los noventa va y viene desbordando firmeza y claridad en sus modos y convicciones; mas hoy sus últimas, últimas palabras serán una confesión: "No soy nadie más que aquel muchachito, aquel estudiante inseguro que por fin ha dado con una idea en la que puede creer y que se siente que, a menos que se aferre a ella y le dedique la vida, estará perdido." Otto Minera

Un polemico manifiesto sobre el presente y el futuro del teatro por el más prestigioso dramaturgo.En este ensayo, David Mamet arremete contra los mitos más arraigados del teatro. Según sus propias palabras, si el teatro fuera una religion, "muchas de las ideas y propuestas de estas paginas se considerarian hereticas". A partir de sus mas de 40 años de experiencia en el mundo del teatro, Mamet ha escrito un libro destinado a excomulgar a los grandes sacerdotes de las tablas y a desafiar sus sagradas biblias. Entre otras cosas, defiende la muerte del director o el final de la teoria de la interpretacion. Un ensayo valiente y provocador en el que Mamet reta a todo el mundo teatral a hacer mejor su trabajo, incluido el mismo.

One of America's most provocative dramatists conquers new territory with this droll comedy of errors set in a Victorian drawing room. "One of Mamet's most satisfying and accomplished plays, and one of the funniest American comedies in years."--"New York Post."

Always black and white, naturally lit, and stripped of make-up and costumes, French photographer Brigitte Lacombe's iconic celebrity portraits reveal the generation of film and theater stars that has emerged since the 70s. See Spielberg looking boyish; Kevin Kline embarassed and self-conscious; Leonardo di Caprio watching hawkishly; John Malkovich starring; Diane Keaton collapsed in laughter. This exquisitely produced oversize volume is a retrospective of images that gorgeously conveys Lacombe's deep love for the performing arts and the people involved in it.

A big-shouldered, big-trouble thriller set in mobbed-up 1920s Chicago-a city where some people knew too much, and where everyone should have known better-by the Oscar-nominated screenwriter of The Untouchables and Pulitzer Prize-winning playwright of Glengarry Glen Ross. Mike Hodge-veteran of the Great War, big shot of the Chicago Tribune, medium fry-probably shouldn't have fallen in love with Annie Walsh. Then, again, maybe the man who killed Annie Walsh have known better than to trifle with Mike Hodge. In Chicago, David Mamet has created a bracing, kaleidoscopic page-turner that roars through the Windy City's underground on its way to a thunderclap of a conclusion. Here is not only his first novel in more than two decades, but the book he has been building to for his whole career. Mixing some of his most brilliant fictional creations with actual figures of the era, suffused with trademark "Mamet Speak," richness of voice, pace, and brio, and exploring-as no other writer can-questions of honor, deceit, revenge, and devotion, Chicago is that rarest of literary creations: a book that combines spectacular elegance of craft with a kinetic wallop as fierce as the February wind gusting off Lake Michigan.

First staged in Britain in 1983, 'Glengarry Glen Ross' is the tale of four real-estate salesmen in a cut-throat sales competition. It won the Pulitzer Prize in 1984 and was made into a film starring Al Pacino, Jack Lemmon, Kevin Spacey and Alec Baldwin, in 1992.