Since the publication in 1981 of Bonnie Marranca's American Dreams: the Imagination of Sam Shepard, critical editions devoted to Shepard's works have appeared roughly every five to eight years. There are now at least four essay collections devoted to Shepard's works, and one might ask whether there is anything new, interesting, or valuable to say about him, especially since, in recent years, his output has decreased. Shepard is a key figure in American drama, some would argue the preeminent playwright of the postwar era. Yet is he as relevant or as cutting-edge as he once was? Are his protagonists' struggles to “act themselves out” in the framework of a beleaguered and moribund patriarchy still compelling when other writers have arguably “moved on” to other issues?