The present paper attempts to explore the treatment of memory by the Nobel laureate and one of the most prominent postmodern playwrights, Harold Pinter. It tries to situate some important plays of Pinter, also known as memory plays, against the theoretical background of postmodernism and the concomitant shift in the conceptualization of human subjectivity. A close textual reading of these plays is carried out to show how Pinter succeeds in laying bare the condition of decenteredness of characters by departing radically from the conventions of realistic drama. In fact, as the paper demonstrates, Pinter should be seen as one of the first playwrights to treat the idea of memory in a characteristic postmodern manner