black utopia, no place where he can escape the iniquities of racism. More importantly, Another Country suggests that we have not yet found a model for thinking outside the box that frames our discussions of interraciality and same-sex eroticism. It suggests, more importantly, that eliminating gender and racial difference will not solve the "problems" of difference either. The title of the novel suggests the wish for "another country," another nation, in which our racial and sexual selves are imagined and defined differently or perhaps where they are not defined at all. It is at once a question: another country, illustrating the futility of national crossings, and it is a wistful fantasy: another country, a mythic, imaginary and unattainable place where relationships are not fractured by difference. Dunning argues that the novel's critique of nationalism extends to black nationalism, which still relies on a fantasy of authentic and heterosexual reproduction. Willing ignorance One of the most significant themes in Another Country is one's willingness to ignore parts of reality (including oneself) that one finds unpleasant or ego-dystonic. Vivaldo is perhaps the most affected by this tendency. He also partially denies his own bisexuality. He fails to fully admit his attraction to Rufus. On the night of his death, Rufus went to Vivaldo and indicated a need for sexual love, but Vivaldo pretended not to recognize this need and later felt guilty, suspecting that he might have prevented Rufus's death. He does not see that his attraction to Ida potentially mirrors his attraction to Rufus. Also, despite mounting signs that Ida is involved in a career-advancing affair with the white TV producer Ellis, Vivaldo mostly denies this until the disillusioned Ida confesses to him herself in a cathartic scene near the end of the book. At the opposite end of the spectrum, after considerable youthful struggles with self-acceptance of his homosexuality due to social ostracism in his hometown in Alabama, Eric eventually becomes the novel's most honest and open character. He admits that Rufus was abusive of Leona, that he actually does not reciprocate Cass's love, and that his love of Yves is genuine. This also makes him the book's calmest and most composed character. Only after a night with Eric does Vivaldo see the world more clearly and make tentative steps toward acceptance of his own bisexuality. Most of the white characters in the book downplay or refuse to admit the