Maria de Zayas y Sotomayor. La traicion en la amistad. Ed. Valerie Hegstrom. Tran. Catherine Larson. USA: Associated UP, 1999. 197 pages. Reliable, readily accessible editions of works by seventeenth-century Spanish women writers are essential to all who are determined to include women's voices in our personal reading, our courses and our research. The current bilingual edition of La traicion en la amistad will be particularly valuable to students of Spanish drama as well as to a wider audience. In their eleven-page Introduction, Valerie Hegstrom and Catherine Larson ably contextualize the life and work of Maria de Zayas, mention other contemporaneous women playwrights, and summarize what little is known of Zayas' life and her possible relationship with other female dramaturgs. They also present abbreviated versions of their previous publications on the work as part of a particularly adept summary and comparison of major critical views on the play. Although they cite Teresa Scott Soufas' edition, Women's Acts: Plays by Women Dramatists of Spain's Golden Age, and her companion volume of studies, Dramas of Distinction (Lexington: UP of Kentucky, 1997) in the Bibliography, they do not refer to them in the Introduction, perhaps because, as Hegstrom points out in a note, the current edition was in the later stages of preparation when Soufas' volumes appeared. Larson and Hegstrom conclude their Introduction by emphasizing the variety of critical opinions the text has evoked, which they rightly view as evidence of the richness and complexity of Zayas' play. The manuscript description, unexpectedly inserted in the Introduction between comments on women writers of the comedia and biographical and literary information about Zayas, would have formed a more coherent part of Hegstrom's Editor's Note. The intriguing mention of crossed-out words and marginal notes begs for a statement clarifying the nature and extent of editorial intervention in the codex. Reference to other descriptions of the manuscript, more detail in the description of the codex, and a more explicit statement of how the text was prepared would also be welcome. The Spanish text may be somewhat liberally punctuated, for example, the commas could be omitted in lines 6, 10, 43, 80, 113, 157, etc. Typographical errors are infrequent, consisting mainly of omission of some accent marks on solo or como, todas instead of todos (1465) or adorer in place of adoran (1518). In the main, the orthographic alterations Hegstrom has imposed on the text make it more accessible to a wider range of readers. …