suffice in Rosin's hands to make a thoroughly engaging book. Instead, she creates a dichotomous narrative structure emphasizing Plastic Woman, who is flexible and adaptable to the new economy, and Cardboard Man who manifestly is neither. The examples and interview subjects that she selects never stray outside this arc. The men are universally either sniveling Greenberg-like characters, when not represented as merely stupid and lazy, while the women are described in the most gushing diction as literally, "Katniss-like." The book is riven with pop culture and literary references apparently meant to support the thesis, but Rosin makes only the most half-hearted attempt to get behind what accounts for this role reversal. She simply appears to believe women are by nature innately suited to the service economy, while troglodytic men are not. Furthermore, despite taking a few jabs at class inequality, she positively swoons over the rich and powerful. Her portrayal of most working class people, male and female, smacks of smug condescencion. Her forecasting models for what this dangerous economic imbalance might entail do not seem in any way systematic. Rather, they are derived from anecdotes, which of course she selects. She claims to be apoltical, merely a faithful chronicler of the "the world as it is," producing a work to transcend the gender wars, a conceit into which many reviewers seem have invested. In its language choice, illustrative examples, and chosen quotations, however, it is a work of considerable misandry. The End of Men looks forward not just to