New England Encounters: Indians & Euroamericans, ca. 1600-1850 is an impressive anthology of informative and scholarly essays focusing on key episodes of Indian-European contact in the first 250 years of New England history. The contributors cover a wide spectrum of Native American - European relations ranging from the Abenaki territory in Northern Maine to Pequot lands in southern Connecticut; from profitable commerce to devastating warfare; from religion persuasion to labor exploitation; from cultural mixing to nonviolent resistance; from literary representation to political argumentation. Editor Alden Vaughan enhances New England Encounters for the reader with an insightful introduction which places the diverse essays within the broader context of New England ethno-history. Of special merit is having the various contributors append postscripts to their original essays commenting on recent scholarship and interpretations since their essays were first written. New England Encounters is a truly impressive and very welcome contribution to Native American studies, American colonial and post-colonial history.

I have done extensive research and this is the best summary of the history of American racism I have seen. Vaughan, a respected scholar, carefully documents the 'origins debate' about whether racism existed before the colonization of America. Also deals with how American Indians went from noble savages to hated redskins.

This book is an excellent, and largely unbiased, discussion of CALIBAN (the character from Shakespeare's The Tempest) and traces the evolution of his perception as reflected in literary criticism, culture/politics, theatrical performance (stage and film), poetry, and visual art. An actor myself, when doing research on Shakespeare roles, the most efficient technique I've found is investigation of stage history. Most of the relevant literary criticism has at one time or another been reflected in stage history. Also, stage history is something I find more easily applicable to performance than literary criticism--for obvious reasons. In light of this bias, the only disappointment I had in the book is that I would have liked a longer chapter on stage history. Nonetheless, as the book surveys CALIBAN's history from so many perspectives, one comes away with a strong appreciation of the wide range of exploration available in playing CALIBAN. The numerous black & white figures are an added plus. Finally, any actor playing CALIBAN and hard-pressed to find research time would do well to at least read the chapter on scriptural analysis relevant to CALIBAN and the final chapter, which summarizes the entire book. Directors and designers would benefit from perusal of this text; however, the book does stick fairly close to its subject of CALIBAN, specifically, rather than The Tempest, in general. To close, Shakespearean actors would certainly benefit from more character-specific surveys like this book.

In 1620 the English Puritans settled in the region they called New England. There they met the natives, the Indians. This book explains how the Puritans and Indians related with each other until 1675. Vaughan demonstrates that the Puritans did not exploit the Indians as often believed but dealt fairly with them. He neither denigrates nor whitewashes either the Puritans or the Indians, but is fair to both sides.

Vaughan describes the Indians, their beliefs and customs, and what they thought of the Puritans. Vaughan also portrays the beliefs and customs of the Puritans and their attitudes towards the Indians. Vaughan recounts how the Puritans and the Indians allied together to destroy the aggressive Pequot tribe in the Pequot war in 1637.
Vaughan sketches the trade between Puritans and Indians, at first trading furs for items and later for wampum. Then he describes how the Puritans tried to fit the Indians fairly into their legal system. Finally he recounts the Puritans attempts to convert the Indians to Christianity.

This is an excellent account, based on extensive primary and secondary sources, of the little known period before King Philips attack on the Puritans changed how the colonists and the Indians saw each other.

This is the most balanced account of the relationship between the Indians and the early settlers I have read. It is an excellent book for someone who is interested in both sides of the story, Indian and Puritan. Vaughan tries to portray the truth of both people's viewpoint and doesn't get bogged down in politically correct rambling so prevalent in modern renditions (i.e. Greg Nobles). A must read for those who desire to be balanced in their view of History.

Comedy, in the strictest sense, is concerned with ultimate forgiveness and reconciliation. In Shakespeare's play, "The Tempest," the protagonist, Prospero, must come to terms with his brother Antonio, who conspired to have him driven from his duchy in Milan, and with the world of social interaction in general.

Magic, Power, and Conspiracy are the foundational thematic elements through which Shakespeare effects Prospero's reintegration into human society. Thrown into a boat with his infant daughter Miranda, Prospero comes to live on a nearly deserted island in the Mediterranean Sea. Prospero's concentration on developing his proficiency in Magic caused him to become alienated from his political and social responsibilities in Milan, leading to his expulsion. His brother Antonio conspired with Alonso, king of Naples, and seized the power Prospero forsook for book-learning.

Prospero hears of a sea voyage undertaken by his enemies, and, using his Magic, whips up a storm, a great tempest, which causes his enemies to be shipwrecked on his island. On the island, Prospero exercises total power - over the education of his daughter, his slave, the deformed Caliban, and now over his enemies. He engages Ariel, a sprite, to orchestrate the division of the traveling party, and to put them through various trials to exact vengeance and ultimately, submission from them.

"The Tempest" is a fine effort from Shakespeare, but the power relations in the play are problematic. Prospero's insistent dominance over the action of the play is extremely troubling. Although he is presented as a benevolent character, Prospero's relationships with Miranda, Caliban, and Ferdinand, King Alonso's son, complicate his overall worth as a man and an authority figure. The dynamic between the slave Caliban and the drunks, Trinculo and Stephano, is also very unsettling.

Overall, "The Tempest" remains a whimsical flight of imagination, while exploring intriguing themes of education, political intrigue, and romance. Certainly, it is still a well-constructed and entertaining play after nearly four hundred years.

This is Shakespeare's 2nd last play. Yet, nothing indicates that he was running out of steam. The images are beautiful. Stephano, Caliban, and Trinculo are memorable as the bumbling conspirators. Miranda and Ferdinand are fine as the two young lovers. Ariel is striking as Prospero's loyal servant. Prospero is a magnificent creation. Not only does he offer several beautiful and memorable passages, but he is well drawn as a character who was unfairly forced into exile. He also makes his prison his paradise. In addition, he is a fine representation of Shakespeare himself: "Knowing I loved my books, he furnished me / From mine own library with volumes that / I prize above my dukedom" (1.2.166-168). His speeches in 4.1 and 5.1 also reflect how Shakespeare himself was contemplating the end of his career. The story itself is very well drawn. Shakespeare grabs our attention with a storm at sea. He offers us a reflection of himself, comical touches, beautiful images, profound passages, beautiful language, young lovers, comical villains, and deep messages. If you like this, be sure to read his final play "Henry VIII."

Yes, there is once again murder brewing in the play of Shakespeare but only in a comical way. Not able to claim to be a Shakespeare expert, I have only read four of his other plays. However, it is in my opinion that this be the best one, most likely because it is a comedy and is much lighter that his other plays. This classic play tells the story of the former Duke of Milan who was wrongly dethrowned by his brother. Using his magical power that originally expelled him from Milan, he is able to bring the King (Alonso), Alonso's brother (Sebastian),his own brother (Antonio) and other servants to the his mostly vacant island. Ordering about the spirit Ariel, he manipulates his way into an interesting and funny situation. There is much to gain from reading this wonderful play which is one of Shakespeares last. I recommend this book to Shakespeare lovers and even more so, to variety readers such as myself. You won't be dissapointed by the plays light mood which is much better than Shakespeares serious murder stories.

This book is an excellent introduction to the genre of the Puritan captivity narrative. It includes several of the most well-known narratives (including Mary Rowlandson), each with a brief introduction. In addition, the editors have provided an introduction to the genre in general that is well-written and informative. The bibliography is extensive and invaluable.