and Joan of Arc. Mr. Bender's approach is more structural than Watt's; he identifies common denominators, such as ``the super- and supra-natural,'' surface transparency, and structural permanence. Mr. Bender argues that each is a profound revelation of ``unreality within the real,'' thereby identifying myth through another colleague's concept, Terry Castle's, of the apparitional. Watt was more interested in why each hero survives in each generation's imagination and how each shapes our dreams as embodiments ``of some of the most basic values of a society.'' Would Mr. Bender substitute ``fears'' for ``values''? That question is an intriguing ending for this review, because Mr. Guilhamet and the contributors to Defoe's Footprints remind us how persistently, creatively, and demandingly Defoe brought his readers face-to-face with enduring fears and values. In the mainlines of Defoe criticism, neither book breaks much new ground as, for instance, Alison Conway's chapter on Roxana in The Protestant Whore or Stephen Gregg's Defoe's Writing and Manliness do, but they entertain and deepen our understanding of Defoe. Paula R. Backscheider Auburn University ANDREAS K. E. MUELLER. A Critical Study of Daniel Defoe's Verse: Recovering the Neglected Corpus of His Poetic Work. Lampeter and Lewiston, NY: Edwin Mellen, 2010.
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