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All that misplaced Barbie angst of our youth, all the childhood conditioning, and the adult results are revealed at last in \u003ci\u003eMondo Barbie\u003c\/i\u003e.\u003c\/b\u003e\u003cbr\u003e \u003cbr\u003e \"Barbie is in the air, all right!\u003cbr\u003e \u003cbr\u003e \"Since we began this anthology, we've seen articles on Barbie in magazines as wide-ranging as \u003ci\u003eParenting\u003c\/i\u003e, \u003ci\u003ePeople\u003c\/i\u003e, and the \u003ci\u003eUtne Reader\u003c\/i\u003e. . . . We're not the only ones. Friends, acquaintances, and contributors (real and imagined) have flooded our mailboxes with clippings about Barbie look-alike contests, cable TV shows, photography exhibits, sculptures, you name it.\u003cbr\u003e \u003cbr\u003e \"Everyone had an anecdote. . . .\u003cbr\u003e \u003cbr\u003e \"[Barbie] is an American icon. The product of an adult fantasy of a girl-child's toy. Or is Barbie the adult's toy and the child's fantasy? 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His essay collection United States: Essays 1952-1992, which features 114 pieces on everything from Howard Hughes to French literature, won the National Book Award.  Vidal proves himself here to be a witty, acerbic, cantankerous conversationalist, one who is willing to-and often eager to-defy conventional wisdom and lacerate the tired clichés inherent in both politics and literature. A defiant political insider who is related to both the Gores and the Kennedys, he is a proud Leftist who nevertheless does not hesitate to slash at party orthodoxy when he deems it necessary. 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