In recent years, public debate has raged over the issue of maternal choice. While personal testimony and political argument have received widespread attention, artistic representations of birth and abortion have been submerged. Judith Wilt offers the first look at how contemporary writers tell and retell the stories that shape our perceptions about abortion. She reveals that the struggle to plot these painful, complex narratives of choice, control, guilt, loss, and liberation has preoccupied an astonishing number of our most distinguished novelists, male and female alike. Readers of twentieth-century novels are more likely to encounter plots centered on maternal choice than those dealing with the more traditional problems of courtship and marriage.

In the opening of the book, Wilt discusses real case histories of several women. After studying the ambiguities of their decisions, she turns to their counterpoints depicted in contemporary fiction. Working from a feminist perspective, Wilt traces the theme of maternal choice in works by Margaret Atwood, Margaret Drabble, Joan Didion, Mary Gordon, Alice Walker, Toni Morrison, Gloria Naylor, Marge Piercy, Thomas Keneally, Graham Swift, Ernest Hemingway, William Faulkner, John Barth, John Irving, and others.

Behind the political, medical, and moral debates on abortion, Wilt argues, is a profound psychocultural shock at the recognition that maternity is passing from the domain of instinct to that of conscious choice. Although never wholly instinctual, maternity's potential capture by consciousness raises complex questions. The novels Wilt discusses portray worlds in which principles are endangered by sexual inequality, male power and hidden male fear of abandonment, impotence, female submission, and covert rage, and, in the case of black maternity, the hideous aftermath of slavery.

Wilt provides a resonant new context for debates—whether political or personal—on the issue of abortion and maternal choice. Ultimately she enables us to rethink how we shape our own identities and lives.

On February 28, 1993, the United States Bureau of Alcohol, Tobacco, and Firearms (BATF) launched the largest assault in its history against a small religious community in central Texas. One hundred agents armed with automatic and semi automatic weapons invaded the compound, purportedly to execute a single search and arrest warrant. The raid went badly; four agents were killed, and by the end of the day the settlement was surrounded by armored tanks and combat helicopters. After a fifty-one day standoff, the United States Justice Department approved a plan to use CS gas against those barricaded inside. Whether by accident or plan, tanks carrying the CS gas caused the compound to explode in fire, killing all seventy-four men, women, and children inside.

Could the tragedy have been prevented? Was it necesary for the BATF agents to do what they did? What could have been done differently? Armageddon in Waco offers the most detailed, wide-ranging analysis of events surrounding Waco. Leading scholars in sociology, history, law, and religion explore all facets of the confrontation in an attempt to understand one of the most confusing government actions in American history.

The book begins with the history of the Branch Davidians and the story of its leader, David Koresh. Chapters show how the Davidians came to trouble authorities, why the group was labeled a "cult," and how authorities used unsubstantiated allegations of child abuse to strengthen their case against the sect.

The media's role is examined next in essays that considering the effect on coverage of lack of time and resources, the orchestration of public relations by government officials, the restricted access to the site or to countervailing evidence, and the ideologies of the journalists themselves. Several contributors then explore the relation of violence to religion, comparing Waco to Jonestown.

Finally, the role played by "experts" and "consultants" in defining such conflicts is explored by two contributors who had active roles as scholarly experts during and after the siege The legal and consitutional implications of the government's actions are also analyzed in balanced, clearly written detail.

The Lost Generation has held the imagination of those who succeeded them, partly because the idea that modern war could be romantic, generous, and noble died with the casualties of that war. From this remove, it seems almost perverse that Britons, Germans, and Frenchmen of every social class eagerly rushed to the fields of Flanders and to misery and death.
In The Road to Armageddon Cecil Eby shows how the widely admired writers of English popular fiction and poetry contributed, at least in England, to a romantic militarism coupled with xenophobia that helped create the climate that made World War I seem almost inevitable.
Between the close of the Franco-Prussian War of 1871 and the opening guns of 1914, the works of such widely read and admired writers as H. G. Wells, Rudyard Kipling, J. M. Barrie, and Rupert Brooke, as well as a host of now almost forgotten contemporaries, bombarded their avid readers with strident warnings of imminent invasions and prophecies of the collapse of civilization under barbarian onslaught and internal moral collapse.
Eby seems these narratives as growing from and in turn fueling a collective neurosis in which dread of coming war coexisted with an almost loving infatuation with it. The author presents a vivid panorama of a militant mileau in which warfare on a scale hitherto unimaginable was largely coaxed into being by works of literary imagination. The role of covert propaganda, concealed in seemingly harmless literary texts, is memorably illustrated.