After the disappointing "Turquoise Mask" and "Spindrift," "The Stone Bull" continues the return to form that Whitney began with "The Golden Unicorn." Although dealing with the repercussions of a fatal accident at a Catskills resort, the novel is really about the collision of several families who have variously damaged their members. It explores whether anyone can truly move past their own baggage. Jenny Vaughn has grown up in the shadow of her older sister Ariel, a world-famous ballerina (who is world famously self-centered, selfish and destructive). She finds herself romanced and swept off her feet by Brendon McClain--when he brings her home to the family's resort, she finds that all is not what is seems...at the resort, in her marriage, and possibly within herself. Whitney experiments with a different narrative structure in this book, as well as more mature themes than she'd dealt with in a while. In fact, with its questions of moral ambiguity and personal growth, "The Stone Bull" hearkens back to her earliest historical novels in the the 1950s. In fact, at one point, Whitney seems to even condone a more relaxed attitude towards casual relationships—the novel was written in the mid 70s—and even fascinatingly suggests that perhaps Jenny might be best off without a relationship at all, through beginning to present a grown-up, platonic friendship between a man and a woman...only to retreat to conventional expectations. These variations in form, playing against the strictures of the contemporary gothic format, make "The Stone Bull" a compelling work.