In Volume II, Wasserman shows us Canadian drama from 1985 up to 1997, during which we see women playwrights rise to greater prominence, along with Native, gay and lesbian, and Quebecois playwrights. But, continuing on from Volume I, this selection of plays not only takes us farther into the annals of the lives of the marginalized; it also provides a revealing cultural and philosophical cross-section of late-20th-century life in Canada.In one way or another, we are shown ourselves as we are, and not in the critically-neutral, determinedly naïve terms of the contemporary mainstream in which we are all represented as gloriously enmeshed in a world of cybernetic stringency-the uncomplicated aesthetic of a never-ending stream of zeroes and ones.If the plays presented in these two volumes are the contours of an "indigenous Canadian drama," they outline anything but a norm.The plays in this fourth edition ofModern Canadian Plays: Volume II date from 1985 to 1997:Bordertown Cafe by Kelly RebarPolygraph by Robert Lepage and Marie BrassardMoo by Sally ClarkThe Orphan Muses by Michel Marc Bouchard7 Stories by Morris PanychDry Lips Oughta Move to Kapuskasing by Tomson HighwayAmigo's Blue Guitar by Joan MacLeodLion in the Streets by Judith ThomsonNever Swim Alone by Daniel MacIvorFronteras Americanas by Guillermo VerdecchiaHarlem Duet by Djanet SearsProblem Child by George F. Walker