This study examines the historical relationship between tragicomedy in the modernist theatre and the performative culture of Western consumer societies. While discussing a wide range of playwrights, it focusses specifically on the work of Samuel Beckett, Harold Pinter and Sam Shepard. Their plays, it is argued, illuminate the forms of pleasure, fear, performance and corruption which dominate our daily lives. Tragicomedy is seen as unique becuae of the existential playfulness and confusion of its protagonists, and because of its muted vision of apocalypse in the nuclear age.

Habermas' recent work makes a major claim: to be able to determine what is the most rational thing to do. Postmodernists, notably Lyotard, have perhaps successfully belittled this claim as too positivistic. This book does not dispute the validity of the postmodern critique but it is concerned to resist the irrationality which, thus far, seems to coincide with anti-positivism. The author looks at the concept of justice, as one that is both essential to Habermas and Lyotard but is also utilized in their work only in constricted and unimaginative ways.