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'Celestial City and Anti-Vanity Fair', with its John Bunyan-like connotations, brings what John O'Loughlin had been building towards in previous books, like 'Yang and Anti-Yin' and 'Lamb and Anti-Lion', to its logical conclusion, underlining the gender distinctions that exist at all points of what he calls the intercardinal axial compass, so that a more comprehensively-exacting approach to terminology is possible and categorically upheld as a logical necessity. Hence the metaphysical and antimetachemical implications of the title are reflected on a parallel terminological basis which it becomes a philosophical principle and moral duty to systematically embrace, if one is to avoid either fudging the gender issue or over-simplifying it from the standpoint of one's own gender - a not-uncommon practice within the male-dominated context of most traditional philosophy in the West. The cover art, incidentally, derives from one of the author's own paintings, and is not without structural relevance to the text.