Presumably she is mad. And yet so appealing is her character, and so witty and seductive her narrative voice, that we will follow her hypnotically as she unloads the intellectual baggage of a lifetime in a series of irreverent meditations on everything and everybody from Brahms to sex to Heidegger to Helen of Troy. And as she contemplates aspects of the troubled past which have brought her to her present state obviously a metaphor for ultimate loneliness so too will her drama become one of the few certifiably original fictions of our time. "The novel I liked best this year," said the Washington Times upon the book's publication in 1988; "one dizzying, delightful, funny passage after another . . . Wittgenstein's Mistress gives proof positive that the experimental novel can produce high, pure works of imagination."