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It does not much matter that one may not fully understand all the details of the Lacanian analysis, for the book offers such an array of stimulating and provocative ideas on the operas of Mozart and Wagner but also in iek’s writing on Rossini, Strauss, and Shostakovitch in paraticular, that it will provide enthralling reading for any opera lover one is tempted to add, “for any film lover,” given iek’s constant reference to film as well. There are also times where iek, chiefly because of his use of startling juxtapositions, can be extremely funny; for instance his description of the famous Tristan Act II love duet, with its inarticulate language, “Thou (I) Isolde, Tristan (I) (Thou), no more Tristan, no more Isolde,” as a kind of inversion of the lines from Tarzan “Me not Tarzan, you not Jane” (125). Such things stay in the memory..