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In \"No Red Blood: Clyde Fitch and the Staging of the Neurasthenic,\" Michael Schwartz's close reading of the work of playwright Clyde Fitch, and his often amusing analysis of the emerging professional managerial class authence, offer evidence of the changing cultural dynamics that led to the creation of a new male character type-the \"neurasthenic\" or nervous mental worker-a precursor of O'Neill's neurotic male figures. Of the two roundtable discussions, \"The Future of Dramatic Literature in the Academy\" is closest to the bone at CDC, which has carefully reserved space for the analysis of dramatic texts in an era defined by scholarly attention to theatre as performance cum cultural action. A number of respondents offer strategies to energize classroom discussions of dramatic literature using performance, history and politics as a way to re-engage a generation (or two) of disconnected readers; others, like Jon D. Rossini, advise us to \"embrace the multiplicity and messiness inherent in the dramatic text as literature\" (230).

When he turns to female impersonators who combine personal memories and performance documentation to recreate the stage practices of Joni Mitchell and Martha Graham, his argument about the \"anachronistic, perverse, and unpredictable\" (142) reach of historicized reembodiment grows more compelling: \"Mitchell rarely performs her own material anymore; for many spectators, [John] Kelly's performances are the closest they will get to hear a full-evening recital of Mitchell's songbook sung in her style and persona\" (173). Not unlike John Leguizamo's Freak, a show that rejects the centrality of the Latino family by claiming Diana Morales's generative role in A Chorus Line as a viable site for Latino cultural identity, today's fresh interest in Sarayon's hopeful politics also suggests that \"it is impossible to predict what will prove of use to future generations\" (308).