Sexual fantasies. Everyone has them, but no one knows what they mean. People are curious about and often confused by the things that arouse them, yet they are often too ashamed to reveal their most private fantasies to their partners or even their therapists. In this fascinating and provocative book, Dr. Michael J. Bader offers a groundbreaking new theory of sexual desire, one that will liberate men and women and enable them to better understand their sexual preferences. Drawing on his twenty-five years as a psychotherapist and psychoanalyst, Dr. Bader demonstrates that rather than being programmed by biology or society, sexual fantasies and preferences are really psychological antidotes to unconscious dangers. Armed with this novel theory, men and women will no longer need to feel ashamed about what arouses them or confused about what arouses others. Dr. Bader sensitively tells the stories of his patients and explains the meaning of their sexual fantasies. In terms refreshingly free of jargon, he reveals how his profound new theory can be used to decipher a wide variety of sexual fantasies and behavior, ranging from ordinary preferences about positions in bed to flamboyant scenarios worthy of the Marquis de Sade. And yet, Dr. Bader's exciting new theory transcends the realm of individual psychology. Readers will come away with a radically new understanding of such issues as sexual chemistry and boredom, cybersex, pornography, and the differences in how men and women get excited. Both erudite and accessible, Arousal: The Secret Logic of Sexual Fantasies is an important landmark in the literature of sexuality.

Ten new critical essays written for presentation at the first Eaton Conference on Science Fiction and Fantasy Literature held 24-25February 1979, at the University of California, Riverside. While critical discussion of science fiction has become increasingly sophisticated during the past decade, there remains a tendency among some teachers and readers to consider science fiction as an independent phenomenon that exists unconnected to the mainstream of our cultural inheritance. These essays--by Harry Levin, Irving Babbitt Professor of Comparative Litera­ture at Harvard University; Kent T. Kraft, Assistant Professor of Comparative Literature at the University of Georgia, Athens; Stephen Potts, writer and instructor at San Diego State Univer­sity; Gregory Benford, writer and Associate Professor of Physics at the University of California, Irvine; Robert Hunt, an editor at Glencoe Publishing; Eric S. Rabkin, Professor of English at the University of Michigan; Patrick Parrinder, instructor at the University of Reading, England; Thomas Keeling, Lecturer in English at the University of California, Los Angeles; Carl D. Malmgren, instructor at the University of Oregon, Eugene; and Thomas Hanzo, Professor of English and Chairman of the de­partment at the University of California, Davis--suggest the connections that exist between science fiction and other aspects of Western cultural tradition. Ranging in interest from the specifically philosophical to the specifically literary, the essays relate science fiction to such top­ics as medieval cosmological discourse, classical empirical phi­losophy, fairy tale, epic, and Gothic fiction. Emerging from the volume as a whole are both a coherent view of science fiction as a genre and a heightened sense of its complex relation to our cultural heritage.

This study argues against vague interpretations of fantasy as mere escapism and seeks to define it as a distinct kind of narrative. A general theoretical section introduces recent work on fantasy, notably Tzventan Todorov's The Fantastic: A Structural Approach to a Literary Genre (1973). Dr Jackson, however, extends Todorov's ideas to include aspects of psychoanalytical theory. Seeing fantasy as primarily an expression of unconscious drives, she stresses the importance of the writings of Freud and subsequent theorists when analysing recurrent themes, such as doubling or multiplying selves, mirror images, metamorphosis and bodily disintegration.^l Gothic fiction, classic Victorian fantasies, the 'fantastic realism' of Dickens and Dostoevsky, tales by Mary Shelley, James Hogg, E.T.A. Hoffmann, George Eliot, Henry James, Joseph Conrad, R.L. Stevenson, Franz Kafka, Mervyn Peake and Thomas Pynchon are among the texts covered. Through a reading of these frequently disquieting works, Dr Jackson moves towards a definition of fantasy expressing cultural unease. These issues are discussed in relation to a wide range of fantasies with varying images of desire and disenchantment.

Laurie Marks’ Elemental Logic series introduced readers to the realm of Shaftal, an intricately imagined land whose people operate within the boundaries of their basic natures—here defined as logics—which sometimes bequeath them with access to magical, elemental powers and sometimes embroil them in unsolvable internal conflicts. Fire Logic centers around the strong female character Zanja Na’Tarwein, a fighter and last survivor of her people in an occupied country. Alongside her is Karis, a powerful half-giant, who is a drug addict and lives in obscurity, hiding her considerable powers. Surrounded by incomprehensible loss, Zanja also forms a bond with Emil, an officer of the army she joins. Battling the complex forces of power, desire, and obligation, follow along as the trio work together to try and change the course of history.

Ursula K. Le Guin's The Dispossessed is of interest to political theorists partly because of its association with anarchism and partly because it is thought to represent a turning point in the history of utopian/dystopian political thought and literature and of science fiction. Published in 1974, it marked a revival of utopianism after decades of dystopian writing. According to this widely accepted view The Dispossessed represents a new kind of literary utopia, which Tom Moylan calls a 'critical utopia.' The present work challenges this reading of The Dispossessed and its place in the histories of utopian/dystopian literature and science fiction. It explores the difference between traditional literary utopia and novels and suggests that The Dispossessed is not a literary utopia but a novel about utopianism in politics. Le Guin's concerns have more to do with those of the novelists of the 19th century writing in the tradition of European Realism than they do with the science fiction or utopian literature. It also claims that her theory of the novel has an affinity with the ancient Greek tragedy. This implies that there is a conservatism in Le Guin's work as a creative writer, or as a novelist, which fits uneasily with her personal commitment to anarchism.