Like the late David Horowitz, David Mamet, now 77, was a red-diaper baby who, after spending the first act of his career as a prominent member of the left, eventually had second thoughts. Horowitz announced his change of mind in a 1985 Washington Post article, co-authored with his writing partner Peter Collier, headlined “Lefties for Reagan”; Mamet went public with his own political metamorphosis in a 2008 Village Voice essay entitled “Why I Am No Longer a ‘Brain-Dead Liberal.’” In the years since, Mamet, whose oeuvre already included first-rate plays like Glengarry Glen Ross (1984) and top-notch screenplays like Wag the Dog (1997) and Hannibal (2001), has published a slew of wise – and wise-ass – books about politics, culture, and the arts, including Recessional (2022), which I summed up as follows: “What, you ask, does he write about? Answer: What doesn’t he write about?”
