history plays, contemporary Mormon plays, and secular plays by Mormon authorsand names five "watershed" plays: Martin Kelly's And They Shall Be Gathered, about the conversion of an Armenian couple; Carol Lynn Pearson's musical The Order Is Love, about Orderville; Card's Stone Tables, a musical about Moses and Aaron, a study in character stress and change which Card himself calls flawed; Douglas Stewart's Saturday's Warrior, another musical and hero play about, as I suppose everyone knows (especially since Salt Lake Acting Company's parody Saturday's Voyeur), the issue of premortal spirits thwarted by earthly birth control; and Robert Elliott's Fires of the Mind, about a central character desperately looking for a testimony, considered best for its realistic language and characterization. Clinton Larson's plays are considered "unproducable" but notable for theirhealth of the literature itself. Years ago, in 1969 to be exact, the late Karl Keller startled us with his Dialogue essay on "The Delusions of a Mormon Literature" (my emphasis), arguing that we had become "reactionaries against literature rather than lovers of it" and that "we live[d] in constant fear of literature." He looked for the day when we would no longer confuse literature with apologetics but see that "working the way faith does, the esthetic experience of writing is itself a spiritual exercise" and "reading literature . . . is an exercise in renewing our grounds of belief" (17). Keller's esthetics were sound but, officially, his cause hopeless, for the kind of writing and reading he advocated was the kind Wayne Carver predicted would "scare The