R E VIE W S e d it o r ’s n o t e : David Williams recently won the Raymond Klibansky Prize in English for Deformed Discourse. ESC offers its congratulations on this award. David Williams, Deformed Discourse: The Function of the Monster in Med iaeval Thought and Literature (Montreal and Kingston: McGill-Queen’s Uni versity Press, 1996). xiv, 392. $55 cloth. Several books could emerge from this work: a descriptive catalogue of me dieval and renaissance illustrations in the McGill Libraries; an annotated taxonomy of the monstrous and its relationship to medieval popular culture; a concise survey of the Pseudo-Dionysian philosophical system. The illustrations are in themselves remarkable. Apart from the McGill Libraries, they derive from manuscripts located in the Staatsbibliothek in Munich, the Vatican, the Bodleian, the British Library, the Bibliothèque Nationale and elsewhere; many are sufficiently rare to merit the attention of the most knowledgeable medievalist. There are also reproductions from frescoes, statuary, and a host of early printed books. The range is aston ishing: who, for example, even among specialists well-versed in art history, is familiar with the woodcut from Alixandre le Grant (233)? In it a long haired, semi-naked young woman, very modern-looking except for the crown on her head, stares with alarm at the lecherous snout of her bed-companion, the horned divinity busily engaged in siring Alexander. Perhaps the greatest value of this book lies in the fact that, in selecting the preponderance of his illustrative material from McGill, Professor Williams draws attention to the existence of this vast, eclectic collection. Most informative are chapters three and four where the author discusses the taxonomy of the monstrous and shows its application to the human body and to the “body” of nature. Using Isidore of Seville’s twelve tests of monstrosity (hypertrophy of the body, atrophy of the body, excrescence of bodily parts, superfluity of bodily parts, deprivation of parts, mixture of human and animal parts, animal births by human women, mislocation of organs or parts in the body, disturbed growth (being born old), composite beings, hermaphrodites, and monstrous races), Williams demonstrates how “the monstrous was conceptually organized throughout the Middle Ages and even down to our own time” (107). Less successful than the others is the last chapter of this section on taxonomy, which emphasizes the anthropomorphic alphabet and prodigious numbers. E S C 24 (D e ce m b e r 1998) ESC 24, 1998 Appearing passim in the entire work but especially fluent in the initial chapter is the discussion of the Pseudo-Dionysian system. For those whose philosophical/theological education is incomplete, the author provides a clear statement of pivotal concepts and stresses their influence from the eighth through the fourteenth centuries. Pseudo-Dionysius’ understanding of real ity is very important to the book’s thesis: The present study attempts to explain the conceptual function of the mon ster in mediaeval culture as the symbolic expression of a philosophical tra dition most fully articulated in the negative theology of Pseudo-Dionysius, the Areopagite. (5) The author has taken on the daunting task of relating a philosophical, conceptual system to a physical, perceptual phenomenon. The resultant intellectual exercise inevitably creates difficulties in extending this book’s argument to other areas of medieval studies. Williams considers that the heroic qualities in figures such as Oedipus and Alexander were reflected for medieval English audiences in the native King Arthur. His exhaustive analysis of the three heroes Alexander, Oedipus, and Gawain (231-84) from their earliest antecedents demonstrate some of the variations of the Western models of the epic hero and the numerous genres that have arisen from it. The author’s treatment of “monstrous” medieval saints such as Christo pher, Wigelforte, and Denis — itself a thorough and painstaking examina tion— reveals how alien medieval hagiography is to present consciousness. Saints were supposed to be different. Christopher was intended to be larger than life. The plainly hermaphroditic Wigelforte would occasion no surprise in the Middle Ages: she was perceived symbolically as Everyman/Everywoman and by extension as a Christ-figure embracing universal humanity. Denis’ decapitated head that continues to praise the Trinity is a sign of the...