But the real truth is that there never is any such thing as one truth to be found in dramatic art. There are many. These truths challenge each other,… - Harold Pinter

Stanley cannot perceive his only valid justification - which is he is what he is - therefore he certainly can never be articulate about it...

We’ve agreed: the hierarchy, The Establishment, the arbiters, the socio-religious monsters arrive to affect censure and alteration upon a member of the club who has discarded responsibility (that word again) towards himself and others. (What is your opinion, by the way, of the act of suicide?) He does possess, however, for my money, a certain fibre – he fights for his life. It doesn’t last long, this fight. His core being a quagmire of delusion, his mind a tenuous fuse box, he collapses under the weight of their accusation – an accusation compounded of the shit-stained strictures of centuries of ‘tradition’.

Sandinistas are a democratically elected government which originally led a popular revolution to overthrow a dictatorship based on slavery. ... US foreign policy could be best defined as follows: kiss my arse or I'll kick your head in. It is as simple and as crude as that. It can hardly be said to be a complicated foreign policy. What is interesting about it is that it is so incredibly successful. It possesses the structures of disinformation, use of rhetoric, distortion of language, which are very persuasive, but are actually a pack of lies. It is very successful propaganda. They have the money, they have the technology, they have all the means to get away with it, and they do. I find the ignorance in this country, Britain, and certainly the US, really quite deep. It is not only the Republican Party and government in the US which are responsible for this state of affairs, but I see the Democrats as only differing by degrees. While they say "no more military aid to the Contras"… they are still referring to an innate and deeply embedded assumption that they are talking about a Marxist-Leninist totalitarian dictatorship; gangsters, thugs, instructed from Moscow.

"Language... is a highly ambiguous business. So often, below the word spoken, is the thing known and unspoken... You and I, the characters which grow on a page, most of the time we're inexpressive, giving little away, unreliable, elusive, obstructive, unwilling. But it's out of these attributes that a language arises. A language, I repeat, where under what is said, another thing is being said...

There are two silences. One when no word is spoken. The other when perhaps a torrent of language is being employed. The speech we hear is an indication of that which we don't hear. It is a necessary avoidance, a violent, sly, anguished or mocking smokescreen. When true silence falls, we are still left with echo but are nearer nakedness. One way of looking at speech is to say that it is a constant stratagem to cover nakedness.

We have heard many times that tired, grimy phrase, "failure of communication", and this phrase has been fixed to my work quite consistently. I believe the contrary. I think that we communicate only too well, in our silence, in what is unsaid, and that what takes place is a continual evasion, desperate rearguard attempts to keep ourselves to ourselves. Communication is too alarming. To enter into someone else's life is too frightening. To disclose to others the poverty within us is too fearsome a possibility.

I am not suggesting that no character in a play can ever say what he in fact means. Not at all. I have found that there invariably does come a moment when this happens, when he says something, perhaps, which he has never said before. And where this happens, what he says is irrevocable, and can never be taken back."