In a career spanning forty years the Chicago-born David Mamet (1947) not only left his imprint on American drama with stage classics like American Buffalo, Glengarry Glen Ross and Oleanna, he systematically ventured into different genres and media as a way of experimenting, honing his craft, and broadening his audiences. The international scholars assembled in the present volume assess Mamet's career to date, focussing particularly on his forays into film, television, the novel and adaptation/translation, as well as on how his work fared in the hands of other artists, whether with serious or comic intentions. By measuring his works' diverse incarnations against each other, his more apodictic theorizings and essays, in the light of formal, institutional and historical determinants, this volume also contributes to a more general reflection on the intermedial and interdisciplinary practice of contemporary artists.