worth, (fortunately) connected to just such a person, who will soon give birth, be involved in countless deliberations over her child's well-being, and who will, as long as she lives, be affected by larger forces of light (tran- scendence) and darkness (evil and death). (p. 186) The scale, if we allow it to penetrate and pervade the background of our own most fundamental concerns, turns out to be not only an instrument of use, but more impor- tantly "an item of felt, world-at-stake significance (involving, e.g., fragile justice and its relatedness to 'principle' or 'transcendence')" (p. 186). Paskow's rich descriptive analysis of Vermeer's painting, "Woman Holding a Balance," is a masterful demonstration of the application of an existential-phenomenological investigation of a work of art. In fact, as a demonstration, it serves as a primer to the understanding of an existential-phenomenological approach in action. The illumination that results from the work strikes a cord of resonance in the reader and thus produces a wonderful sense of experiential validation. Before concluding the review by recommending Alan Paskow's The Paradoxes of Art: A Phenomenological Investigation, enthusiastically, I want to point to what I perceive to be two shortcomings. Chapter 1, "The Reality of Fictional Beings," and Chapter 5, "For and Against Interpretation," which is the last chapter, are belabored and long. These are the chapters, where the author dialogues with other contrasting and chal- lenging theoretical orientations such as simulation theory, thought theory, and real- ist theory in Chapter 1 and feminist theory, Marxist theory, and deconstructionist theory in Chapter 5. Chapter one could have been condensed and incorporated into the "Introduction." A more exciting conclusion to this book, which could have brought it to a fruitful and complementary closure, would have been something like, "How an Existential-Phenomenological Description of Art Can Enrich, or Maybe Even Change, Your Life-World!" But aside from these two reservations, this work was an eye-opener and refreshingly enjoyable. Starko, A. J. (2005). Creativity in the classroom: Schools of curious delight, third edition. New Jersey: Lawrence Erlbaum Associates. ISBN 0-8058-4791-X, x + 499 pp., $45.00 (paperback) Reviewed by Richard W. Bargdill, Saint Francis University Generally, a book in its third edition has made a contribution to the field and estab- lished its merit. Both of these are true for Creativity in the classroom, which is a rare example of book that is both a solid review of the theoretical and empirical research 124 • Book Reviews