MLR, 104.2, 2009 54i a defence of ethics and morality against barbarity and falsification, a defence of freedom against repressivemeasures' (p. 171). There is something doubtful about the triumphalist tone, and the uncritical refuge taken in a concept such as sovereignty, which shakes one's faith slightly in the good work thatunderpins this study. Finally, Olszewska asserts, contemporary Irish writers are engaged in a 'trans lation' of Ireland, a manoeuvre that involves projection', a manoeuvre that is, furthermore, not quite so appropriate in a Polish context. Throughout this study Communism is invoked as the quintessence of the alien and the inhospitable. Given this, the 'imagined homeland' of post-war Poland is awarded greater coherence than the imagined Ireland of contemporary writing as itattempts to critique both 'traditional definitions of Irishness' and 'thenationalism of the sovereign republic' (defined by the?restrictive?values ofChurch and State) (pp. 169-70). This book isperhaps most interesting in the account given of key Polish journals such as Kultura, and the contexts inwhich specific debates took place; and in the translations of Polish texts thatunderpin the argument. It ismuch more obviously a book about Polish struggle than it is a genuinely comparative study. If the debates within the book could be revisited, it is arguable that they should become more nuanced, less dogmatically asserted. University of Leeds Fiona Becket The Play within thePlay: The Performance of Meta-Theatre and Self-Reflection. Ed. by Gerhard Fischer and Bernhard Greiner. (Internationale Forschungen zur Allgemeinen und Vergleichenden Literaturwissenschaft, 112) Amsterdam and New York: Rodopi. 2007. xvi+460 pp. 96; $134. ISBN 978-90-420-2257-7. There are precious few texts devoted to the question ofmetatheatricality, despite its centrality to the history and practice of theatre as an art form. The Play within thePlay thus piqued my interest,not least because its title, as a term, seems both curiously dated and suggestive of potential contemporary relevance. A generation of playwrights emerging in the last twentyyears,writers as diverse as Tony Kushner, Martin Crimp, and Suzan-Lori Parks, have made the playwithin theplay a key com ponent of theirdramaturgy. Unfortunately, thebook's real subject turnsout tobe less 'theplay within the play than the conference proceedings within the book'?and it provides an object lesson inwhy publishers now generally frown on the lattergenre. 'The essays in the present collection', its editors explain, constitute a selection of papers delivered at the 2004 Sydney German Studies Symposium', which they convened. With thirtyessays spread over 460 pages, there does not appear to have been a particularly rigorous 'selection' process, and thisproblem is compounded by the fact that the eclectic contents have not been arranged in any very coherent man ner. There are five subsections, but their titles are bewilderingly imprecise. Part 1, for example, 'The Play within the Play and the Performance of Self-Reflection', is followed by Part 11,'The Play within the Play andMeta-Theatre', with its subsection titles 'Self-Reflection and Self-Reference' (so, the same as Part 1 then?) and