A review of U. Mäki (ed.). Fact and Fiction in Economics, Cambridge: Cambridge University Press, 2003. pp. xvi 384. ISBN 0521 00957. As people interested mainly in theory, methodologists and philos...

Jennifer Wagner-Lawlor’s Postmodern Utopias and Feminist Fictions represents not only a significant contribution in utopian studies; it is also a major intervention in contemporary literary studies and global cultural studies more generally. Each of the book’s chapters is structured around a specific set of formal and generic questions, exploring in great detail and with a tremendous amount of insight recent feminist revisionings of older genres, including the bildungsroman, the novel of art, nonlinear histories, American historical novels, and finally, in an (...) extraordinary turn, the works of contemporary Arab feminist writers, which, Wagner-Lawlor shows, “directly address the nature of the work left to do, as.. (shrink)

Using selections from writers like Margaret Atwood, Octavia Butler, Marion Zimmer Bradley, Karen Joy Fowler, Ursula K. Le Guin, James Tiptree jr., and many others, this collection shows how the imagined worlds of science fiction create hold experiments for testing feminist hypotheses and for interpreting philosophical questions about humanity, gender, equality and more. Four main themes: Part 1, 'Human nature and reality', concentrates on whether there is an intrinsic difference between males and females. Part 2, 'Dystopias: the worst of (...) all possible worlds', portrays misogynistic societies uncomfortably familiar to the early 21st-century reader. Part 3, 'Separatist utopias: worlds of difference', assembles stories that scrutinize both the virtues and vices of separatism. In Part 4, 'Androgynous utopias: worlds of equality', the authors create worlds that anticipate the consequences, good and bad, of perfect sexual equality in education, intelligence, capability, and reproduction. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:(P)rescription Narratives: Feminist Medical Fiction and the Failure of American Censorship. by Stephanie Peebles TaveraEtta M. MaddenStephanie Peebles Tavera. (P)rescription Narratives: Feminist Medical Fiction and the Failure of American Censorship. Edinburgh: Edinburgh University Press, 2022. Hardback, xii + 220 pp. ISBN 978-1-4744-9319-2.Utopian Studies readers first saw Stephanie Peebles Tavera’s work in print in her 2018 essay on reproductive health in Charlotte Perkins Gilman’s Herland. More recently, (...) in (P)rescription Narratives, she gives readers a view of the much broader historical scope of her scholarship in literary and cultural studies. Tavera’s analysis of what she labels “feminist medical fiction” considers not only novels and short stories but also literary reviews, dramas, and documentary films, many of which will be unfamiliar to readers of utopian and dystopian literature. Yet the book contextualizes the ways in which these works capture the “utopian possibilities” of women writers who pushed for breaking the boundaries of the dystopian strictures of embodied life. The literary works “rescript” what had been prescribed by others as “normalized behavior,” from the latter-nineteenth century through the Progressive Era (5, 37). As Tavera illustrates through her detailed analysis, these women’s narratives provide “interventions that... interrupt the dissemination of false [End Page 612] narratives of the female body” and “alter the course of cultural development toward greater inclusivity” (5).To establish the temporal boundaries for the project, Tavera emphasizes the Comstock Law, established in 1873, and the death of its author Anthony Comstock in 1915. While Comstock’s work often has been understood as restricting pornography, she explains the Comstock Law as more than merely that. Comstock sought to control what he and others saw as sexual deviation, which included birth control in any form. Tavera also bookends the project with lawsuits associated with Victoria Woodhull and Margaret Sanger, both women who advocated for abortion and birth control as means of allowing women to avoid the strictures over their bodies. Additionally, she explains, Comstock’s racism caused him to completely overlook Black women, ironically allowing a space in which Black women’s feminist medical fiction especially rescripts “normalized behavior” (37)—a topic she pursues in two parts of the book.The book follows a roughly chronological path as it examines four topics related to women’s health, brilliantly organized into “(p)rescriptions,” indicated by Rx, rather than chapters with numbers. Rx1, “Crip Medicine,” illustrates how authors such as Charlotte Perkins Gilman pointed to the socially constructed status of “hysteria” in a patriarchal culture that saw women as deviant by nature. Instead, these authors advocated for a more holistic examination of women’s health, impacted by the environments in which they lived. Drawing from Lyman Tower Sargent’s widely accepted view of utopianism as dreaming of a place “considerably better than the society in which the author lived,” she underscores “the utopian impulse underlies much of the work of feminist medical fiction” (39). In particular, writers of feminist medical fiction were “driven by failure.”Perhaps most familiar to illustrate this point is Gilman’s work, such as “The Yellow Wallpaper,” which illustrated how the culture failed certain characters. The narrator of that story suffers postpartum depression and is made worse by Dr. S. Weir Mitchell’s rest cure. Consequently, Gilman proceeded to write other works, such as Moving the Mountain (1911) and then Herland (1915), which push readers to envision “alternative societies” without such destructive patriarchal medical practices (39). But Tavera also explains how Louisa May Alcott’s Eight Cousins, or the Aunt-Hill (1875) critiques contemporary culture by providing a “domestic utopia” in the female domain of Aunt-Hill, wherein the male Dr. Alec Campbell demonstrates “a better way... of caring for the female body” (55). And another key example is Rebecca Harding [End Page 613] Davis’s Kitty’s Choice: A Story of Berrytown (1875). Berrytown is described as “the Utopia in actual laths, orchards, and bushel-measures of the advance guard of the reform party in the United States” (qtd. in Tavera 55). Through its two physicians, Dr. Muller and Dr. McCall, who represent homeopathic and allopathic practitioners, readers see that the society... (shrink)

This essay proposes that subcultural practices such as gossip and fan writing are feminist epistemologies that can form radical archive inquiry and knowledge production, and creative outputs. Drawing on feminist new materialism and archive theory, I develop a set of principles for practice-based research methodologies that incorporate a researcher's intersubjective relationship with archive matter (e.g. records, documents, classification systems, social-material contexts) and consider the production of knowledge from such research as forms of tabulation. Fabulation here is seen as part of (...) a critically transgressive epistemological stance that expands feminist critiques of universalising master narratives and archive orthodoxies. My proposition, formed in part through a residency in the Woman's Art Library in London, is to name such research gestures ‘archive fanfiction’, where experimental and practice-oriented method moves with feminist politics and activism. (shrink)

This book includes essays on writers from the 1840s to the 1890s, well known writers such as Anne Bronte, Wilkie Collins and Bram Stoker, lesser known writers such as Geraldine Jewsbury, Charles Reade, Margaret Oliphant, George Moore, Sarah Grand and Mary Ward. The contributors explore important thematic concerns: the relation between private and public realms; gender and social class; sexuality and the marketplace; and male and female cultural identity.

This article adds to the growing literature distinguishing second and third wave feminist theory. It opens by outlining theoretical differences between second wave and third wave definitions of femininity and the role and impact of femininity on gender relations of domination, whilst briefly acknowledging the complications of the relationship between third wave feminism and post-feminism. It then suggests that these diverging perspectives on embodied femininity result from fundamentally different second wave and third wave theories of power. In doing so, it (...) develops a third wave conceptual definition of femininity and a theoretical framework for power relations that are distinct from a second wave approach. It illustrates these differences by offering a close reading of textual representation of femininity in the film Pulp Fiction. (shrink)

These are women who are not only vulnerable but also evidently worthy of the protections or rewards promised: punishment of the rapist or the hero's love ...

Three acclaimed literary critics ask: Do women construct and write fiction differently from men? They explore theoretical aspects of the feminist agenda as well as analyze their own creative procedures. Sue Roe, Susan Sellers, Nicole Ward Jouve.

It is hardly a novel claim that the work of Ursula K. Le Guin (1929–2018) contains influences from philosophical Daoism, but I argue that this influence has yet to be fully understood. Several scholars criticize Le Guin for misrepresenting Daoist ideas as they appear in ancient Chinese philosophical texts, particularly the Dao De Jing and the Zhuangzi. While I have sympathy for this charge, especially as it relates to Le Guin’s translation of the Dao De Jing, I argue that it (...) fails to understand the extent to which her fiction contains her own philosophical development of Daoist ideas. Looking at some of her most influential works (e.g., The Left Hand of Darkness, The Dispossessed, The Lathe of Heaven, A Wizard of Earthsea, etc.), I suggest that Le Guin’s fiction is better seen as a refocusing of Daoist concepts such as complementary contrasts and non-action (wu wei) in the contexts of modern feminism, modern anarchism, science fiction, and fantasy. Le Guin was not trying to represent ancient Daoism as a scholar. Rather, she was trying to reimagine Daoism as a creative artist and philosopher in her own right. This way of viewing Le Guin’s work does not fully exorcise the specter of the possibility of Orientalist cultural appropriation, but it does make the issue more complex in a way that can deepen further conversations. To what extent can an artist be guilty of misrepresentation if representation was not, strictly speaking, her goal? I end with a brief reflection on what is perhaps the deepest philosophical lesson of Le Guin’s work: everything is more complicated than it first appears. On that note, the present article is an attempt not just to do philosophy about Le Guin, but to do philosophy in a Le Guinian fashion, which requires rethinking the metaphor of combat that guides much academic philosophy today. (shrink)

In patriarchy women are frequently perceived as “the other” and as such they are subject to discrimination and marginalization. The androcentric character of patriarchy inherently confines women to the fringes of society. Undeniably, this was the case in Western culture throughout most of the twentieth century, before the social transformation triggered by the feminist movement enabled women to access spheres previously unavailable to them. Feminist science fiction of the 1970s, like feminism, attempted to challenge the patriarchal status quo in (...) which gender-based discrimination against women was the norm. Thus, authors expressed, in a fictionalized form, the same issues that constituted the primary concerns of feminism in its second wave. As feminist science fiction is an imaginative genre, the critique of the abuses of the twentieth-century patriarchy is usually developed in defamiliarized, unreal settings. Consequently, current problems are recontextualized, a technique which is meant to give the reader a new perspective on certain aspects of life they might otherwise take for granted, such as the inadequacies of patriarchy and women’s marginality in society. Yet there are authors who consider the real world dystopian enough to be used as a setting for their novels. This is the case with Woman on theEdge of Time by Marge Piercy and The Female Man by Joanna Russ. Both texts split the narrative into a science fictional and a realistic strand so as to contrast the contemporary world with utopian and dystopian alternatives. Both texts are largely politicized as they expose and challenge the marginalized status of women in the American society of the 1970s. They explore the process of constructing marginalized identities, as well as the forms that marginalization takes in the society. Most importantly, they indicate the necessity of decisive steps being taken to improve the situation. (shrink)

We refine a line of feminist criticism of pornography that focuses on pornographic works' pernicious effects. A.W. Eaton argues that inegalitarian pornography should be criticized because it is responsible for its consumers’ adoption of inegalitarian attitudes toward sex in the same way that other fictions are responsible for changes in their consumers’ attitudes. We argue that her argument can be improved with the recognition that different fictions can have different modes of persuasion. This is true of film and television: a (...) satirical movie such as Dr. Strangelove does not morally educate in the same way as a realistic series such as The Wire. We argue that this is also true of pornography: inegalitarian depictions of sex are not invariably responsible for consumers' adoption of inegalitarian attitudes toward sex in reality. Given that pornographic works of different genres may harm in different ways, different feminist criticisms are appropriate for different genres of pornography. (shrink)

I would like to end this questioning of canonical origins by returning to my point of departure, [Lawrence] Lipking’s notion of a “poetics of abandonment.” Lipking’s article was included in an issue of Critical Inquiry entitled Canons, in which it seemingly was held to represent a feminist perspective on canon formation. Lipking centers his attention on literary theory, a domain that has been granted new prominence, sometimes even the status of literature, in the most recent reformulation of the canon. It (...) may be, as Viktor Shklovsky suggested in Zoo, or Letters Not about Love, that literary theory is the novel’s successor, in which case the resurrection of Ovid’s abandoned women would make generic sense. Furthermore, for the first time in the history of literary criticism, there are today numbers of influential female literary critics, many of whom have called for a major reorganization of literary canons. Given the strategies deployed during previous moments of canon formation, it is perhaps inevitable that some of today’s male literary critics would instigate a debasement of theoretical mothers. Contemporary literary critics are no longer attempting to consign women writers to abandonment. However, even as they promote the cause of women writers, some may also be responding in a manner that reveals their perception that feminist literary theory has provided the most forceful recent challenge not only to literary canons but to critical canons as well.In the final development in his attempt to prove that a mimetic investment in female pain is the basic theoretical strategy deployed by all female readers, Lipking provides an analysis of recent feminist theorists ending with this characterization of the authors of The Madwoman in the Attic: “Sandra Gilbert and Susan Gubar gaze at the mad and outcast heroines of the nineteenth century as if into a mirror” . Thus Gilbert and Gubar—Lipking also cites the examples of Kate Millett and Ellen Moers—become the most recent incarnations of the abandoned literary woman, the literary critic whose views originate in her fear of abandonment. If my analysis of strategies of canon formation deployed in earlier centuries is correct, then the pronouncement from Lipking’s article with which I opened this essay may be a red herring. “In the absence of mothers, a father must raise the right issues.” Lipking may be calling for “a poetics of abandonment” not in response to a perceived maternal deficiency, but in order to consign strong female critics to abandonment, out of a Phaeton complex, a fear that, unless female theorists are cast off, critical sons may have an increasingly difficult time proving their legitimacy. Joan DeJean is professor of French at Princeton University. Her most recent book is Literary Fortifications: Rousseau, Laclos, Sade, and she is currently at work on a study to be titled Fictions of Sappho: Sappho’s Presence in French Literature, 1546-1937. (shrink)

Differences That Matter challenges existing ways of theorising the relationship between feminism and postmodernism which ask 'is or should feminism be modern or postmodern?' Sara Ahmed suggests that postmodernism has been allowed to dictate feminist debates and calls instead for feminist theorists to speak (back) to postmodernism, rather than simply speak on (their relationship to) it. Such a 'speaking back' involves a refusal to position postmodernism as a generalisable condition of the world and requires closer readings of what postmodernism is (...) actually 'doing' in a variety of disciplinary contexts. Sara Ahmed hence examines constructions of postmodernism in relation to rights, ethics, subjectivity, authorship, meta-fiction and film. (shrink)

What is it to be a woman? What is it to be a man? We start by laying out desiderata for an analysis of 'woman' and 'man': descriptively, it should link these gender categories to sex biology without reducing them to sex biology, and politically, it should help us explain and combat traditional sexism while also allowing us to make sense of the activist view that gendering should be consensual. Using a Putnam-style 'Twin Earth' example, we argue that none of (...) the existing analyses in the feminist literature succeeds in meeting all of our desiderata. Finally, we propose a positive account that we believe can satisfy all the desiderata outlined. According to our theory, the genders 'woman' and 'man' are individuated not by their contemporary connections to sex biology, but by their historical continuity with classes that were originally closely connected to sex biology. (shrink)

Not least among the many enigmas attending the origins and development of the first vernacular lyric in the European Middle Ages is the existence of at least twenty women poets who lived in southern France from about the mid-twelfth to the mid-thirteenth century and who participated in the highly conventionalized poetic system created by the troubadours, those humble poetlovers who sang to their beloved as domna, the superior lady. In periods when the tides of feminism are high these women's voices (...) have insistently claimed our attention, as we try to understand their songs and puzzle over their very existence. Their poetic inventions require us in particular to pay close attention to the subtle, even elusive, concept of voice—its relation to the identity of the poet and the poem's speaker, the elements that characterize its expression, the multiplicity of images created by different voices, and so on. If we are willing to listen and analyze carefully, the trobairitz have much to teach us about the way women poets enter into and find their place in a traditional poetic system created by male poets. Their songs demonstrate with intricate complexity the way poetic fictions play with cultural, literary, and social definitions of man and woman, masculine and feminine; their poems offer valuable warnings about the pitfalls involved in generalizing women into woman. (shrink)

Bonnie Honig invigorates debate over the politics of refusal by insisting that withdrawal from unjust political systems be matched with collective action to change them. Historical and fictional characters from Muhammad Ali to the Bacchants of ancient Greek tragedy teach us how to turn rejection into transformative efforts toward self-governance.

When the term “postfeminism” entered the media lexicon in the 1990s, it was often accompanied by breathless headlines about the “death of feminism.” Those reports of feminism’s death may have been greatly exaggerated, and yet contemporary popular culture often conjures up a world in which feminism had never even been born, a fictional universe filled with suburban Stepford wives, maniacal career women, alluring amnesiacs, and other specimens of retro femininity. In _Feminism and Popular Culture_, Rebecca Munford and Melanie Waters consider (...) why the twenty-first century media landscape is so haunted by the ghosts of these traditional figures that feminism otherwise laid to rest. Why, over fifty years since Betty Friedan’s critique, does the feminine mystique exert such a strong spectral presence, and how has it been reimagined to speak to the concerns of a postfeminist audience? To answer these questions, Munford and Waters draw from a rich array of examples from contemporary film, fiction, music, and television, from the shadowy cityscapes of _Homeland _to the haunted houses of _American Horror Story_. Alongside this comprehensive analysis of today’s popular culture, they offer a vivid portrait of feminism’s social and intellectual history, as well as an innovative application of Jacques Derrida’s theories of “hauntology.” _Feminism and Popular Culture_ thus not only considers how contemporary media is being visited by the ghosts of feminism’s past, it raises vital questions about what this means for feminism’s future. (shrink)

Feminist Auto/biography as a Means of Empowering Women: A Case Study of Sylvia Plath's The Bell Jar and Janet Frame's Faces in the Water Feminism, as a political, social and cultural movement, pays much attention to the importance of text. Text is the carrier of important thoughts, truths, ideas. It becomes a means of empowering women, a support in their fight for free expression, equality, intellectual emancipation. By "text" one should understand not only official documents, manifestos or articles. The term (...) also refers to a wide range of literary products—poetry, novels, diaries. The language of literature enables female authors to omit obstacles and constraints imposed by the phallogocentric world, a world dominated by masculine propaganda. Through writing, female authors have an opportunity to liberate their creative potential and regain the territory for unlimited expression. In order to produce a truly powerful text, they resort to a variety of writing styles and techniques. Here the notions of a situated knowledge and context sensitivity prove useful. There are three methodologies working within situated knowledge, namely, the politics of location, self-reflexivity and feminist auto/biography. All of them regard text as a fundamental tool to signify one's authority, yet feminist auto/biography, a concept widely discussed by the British theorist Liz Stanley, appears to be the most empowering mode of writing. It challenges the overused genre of auto/biography and reconstructs its role within feminist epistemologies, thus creating a favourable environment for text production. The works by Sylvia Plath and Janet Frame can be analyzed from the point of view of auto/biographical empowerment, even though their auto/biographical potential is mainly instinctive. Nevertheless, they help to comprehend the strength of the auto/biographical.The aim of this article is to "investigate" two novels by these authors, The Bell Jar by Sylvia Plath and Faces in the Water by Janet Frame, and their compatibility with Stanley's concept. The paper attempts to answer several questions. Are these novels actual feminist auto/biographies or rather fictional auto/biographies with feminist undertones? What kind of narrative strategy is used to achieve the effect of authority over the text? Last but not least, what is the function of auto/biographical narration in the case of these two novels? The article also explores the idea of writing as a means of regaining control over one's life. (shrink)

The essays in Object-Oriented Feminism explore OOF: a feminist intervention into recent philosophical discourses--like speculative realism, object-oriented ontology (OOO), and new materialism--that take objects, things, stuff, and matter as primary. Object-oriented feminism approaches all objects from the inside-out position of being an object too, with all of its accompanying political and ethical potentials. This volume places OOF thought in a long history of ongoing feminist work in multiple disciplines. In particular, object-oriented feminism foregrounds three significant aspects of feminist thinking in (...) the philosophy of things: politics, engaging with histories of treating certain humans (women, people of color, and the poor) as objects; erotics, employing humor to foment unseemly entanglements between things; and ethics, refusing to make grand philosophical truth claims, instead staking a modest ethical position that arrives at being "in the right" by being "wrong." Seeking not to define object-oriented feminism but rather to enact it, the volume is interdisciplinary in approach, with contributors from a variety of fields, including sociology, anthropology, English, art, and philosophy. Topics are frequently provocative, engaging a wide range of theorists from Heidegger and Levinas to Irigaray and Haraway, and an intriguing diverse array of objects, including the female body as fetish object in Lolita subculture; birds made queer by endocrine disruptors; and truth claims arising in material relations in indigenous fiction and film. Intentionally, each essay can be seen as an "object" in relation to others in this collection. Contributors: Irina Aristarkhova, University of Michigan; Karen Gregory, University of Edinburgh; Marina Gržinic, Slovenian Academy of Science and Arts; Frenchy Lunning, Minneapolis College of Art and Design; Timothy Morton, Rice University; Anne Pollock, Georgia Tech; Elizabeth A. Povinelli, Columbia University; R. Joshua Scannell, CUNY Graduate Center; Adam Zaretsky, VASTAL. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.2 (2001) 295-313 [Access article in PDF] The Ecology of Victorian Fiction Joseph Carroll I In the past ten years or so, ecological literary criticism--that is, criticism concentrating on the relationship between literature and the natural environment--has become one of the fastest-growing areas in literary study. Ecocritics now have their own professional association, their own academic journal, and an impressive bibliography of scholarly studies. Ecocritical (...) scholars divide their attention between "nature writing" and ecological themes within all literature. In other words, some scholars write on Thoreau, John Muir, Aldo Leopold, and Annie Dillard; others write on topics such as the representation of nature in romantic poetry, the American West as a symbol, metaphors of landscape, or Dante's Inferno as a polluted ecosystem. Ecocritics have a distinct subject matter, and they share in a certain broad set of attitudes, values, and public policy concerns, but they do not yet have a firmly established framework of commonly accepted theoretical principles. In the absence of any overarching theory, ecocritics have usually sought to incorporate their ecological subject matter within other, already established theoretical schools: feminism, Bakhtin's dialogism, Lacanian psychoanalysis, or English romantic and American transcendentalist, idealist philosophy. Most commonly, ecocritics have affiliated themselves with the standard contemporary blend of Foucauldian ideological criticism--a blend that is vaguely Marxist and Freudian, generally radical, and strongly tinctured with deconstructive irrationalism and textualism. 1Given its specialized themes and topics and its ready affiliation with the standard theoretical blend, ecocriticism might seem little more than a special topic area within the general field of contemporary [End Page 295] literary study. But ecocritics do not see their approach that way. They share in a feeling of being at the forefront of critical response to an urgent practical problem of world-historical magnitude: the prospect of irreversible environmental devastation. They thus have a strong sense of a political mission, and they often feel that the urgency of their environmental concerns should sanction realigning the canon to give much greater prominence to nature writers and to the study of ecological themes. In their view, the natural world claims a special status as the ultimate ground and frame of all existence. It is an object of peculiar veneration and of primary experiential importance.The special conceptual status of ecology as a theme and a topic necessarily raises a question about its theoretical import. If the subject of ecocriticism is the relation of literature and the natural world, and if this relation is more important and more elemental than any other concern, does it not follow that ecocriticism should identify itself as a matrix for all literary study? To put the question operationally, in what way could ecology, as a subject matter and a concept, generate a theory of literature? Since the relation between organisms and natural environments is a necessary precondition of all experience, one could reasonably argue that the special topic of ecocriticism is more elemental than the topics of feminism, Marxism, or any other form of political criticism, and that the basic physical conditions of organic life take conceptual precedence over semiotics and theories of "culture" and "discourse."I shall argue that ecology cannot by itself generate a theory of literature or serve as the basis for a theory of literature, but I shall also argue that responsiveness to the sense of place is an elemental component of the evolved human psyche and that it thus can and should be integrated into a Darwinian literary theory. E. O. Wilson's notion of "biophilia" provides a Darwinian alternative to the ecological transcendentalism of "deep ecology," and the evolutionary epistemology of Konrad Lorenz provides a Darwinian rationale for locating the human psyche within its physical world. In constructing a bridge between the evolutionary epistemology of Lorenz and the idea of place within verbal narrative, I shall make use of a new branch of Darwinian aesthetics, Joseph Anderson's "ecological" version of "cognitive film theory."In order to illustrate the ways in which setting can be integrated into a Darwinian literary criticism, in the latter part of the essay... (shrink)

Rita Felski presents a critical account of current American and European feminist literary theory, and analyzes contemporary fiction by women to show that no theorist can identify a specifically "female" or "feminine" kind of writing without reference to what gender means at a given historical moment. She argues that the idea of a feminist aesthetic is a non-issue needlessly pursued by feminists. She calls for a consideration of the social and cultural context in which these texts were produced (...) and received, and demonstrates her method of an interdisciplinary approach to the analysis of literature which can integrate literary and social theory. ISBN 0-674-06894-7: $25.00; ISBN 0-674-06895-5 (pbk.): $9.95. (shrink)