PREFACEis not an anthology. Still, we hope our selections at least begin to suggest something of the manifold interests, generations, cultural origins, and ethnic backgrounds of women writing in each country, as well as the exquisite stylis tic and thematic variety of their work. We wish to demonstrate the fruitfulness of the comparative approach we adopt, not to exhaust its possibilities.Though standards of literary value are inevitably contingent on cultural and historical contexts, we nevertheless wanted to include fictions whose richness of signification and significance seemed to us to invite many levels of response, texts that were, in our judgment, likely to endure the vicissi tudes of those forces that help determine any work's survival: not only its own aesthetic qualities but also the vagaries of production and dissemination in an increasingly market-driven arena, the critical evaluations and politics that determine who's in, who's out at any given moment, and all the complex social and psychological factors that motivate shifts in public preferences.We did not include some of the most recent Russian fiction. In a market glutted with new writing since the demise of censorship, we felt it was still too early to determine who among the new writers will emerge as the enduring representatives of this generation. Though the case of Liudmila Petrushevskaia may seem a departure from this standard, in fact she is not, strictly speaking, a new writer, simply a recently (re)discovered one. Because many of her first prose works found their way into print only in smaller provincial journals, many Soviet readers remained unfamiliar with her work until the mid-198os. Among the Russian writers, we also chose not to include some, such as the brilliant Tatiana Tolstaia, who had already received wide exposure abroad. Nevertheless, our dialogues and our thinking were often influenced by powerful voices like hers and by others in both Russia and America who have made their mark on women's writing in their respective countries: