After an Abenaki raid on colonial era Groton, Massachusetts, Jack searches for his nephew John Longley who was taken captive.

Includes Part 1, Number 2: Books and Pamphlets, Including Serials and Contributions to Periodicals

The campstead is an American institution. After the Civil War, with neo-colonialism, environmentalism, and arts-and-crafts on the rise, some families sought rural locations for rustic camps. There they raised their children in the summertime. Around Squam Lake, after some eight generations, twenty-one such camps remain in these families. The Squam area thus becomes a natural place to study relationships of persons and places, families and landscape, and humans and the world. Our present concerns for environmental stewardship, open space protection, and core values instead of consumerism, make this a good time to revisit the simple American Campstead. Rustic camping itself revisited aspects of the American frontier. Just as the western frontier was disappearing, some families resorted to remnants of the first frontier among mountains and lakes of the Northeast. Through campsteads, these families preserved elements of the frontier ethos. Campsteads facilitate particular experiences involving nature and family. Brereton investigates campstead experience, and through it the nature of human experience generally. This book is the first detailed account of campsteading, the first application of critical realism in anthropology, and the first anthropological use of John Dewey's evolutionary model of experience. Building on Dewey, the author further analyses experience into its levels, orders, and features.

This small, striking book commemorates the career of experimental music composer Alvin Lucier, and features an interview with Lucier and curator Andrea Miller-Keller, essays by Nicolas Collins, Ronald Kuivila, Michael Roth and Pamela Tatge, and details of a symposium, exhibit and special performances of Lucier’s work held at Wesleyan University, November 4-6, 2011. Lucier has pioneered in many areas of music composition and performance, including the notation of performers' physical gestures, the use of brain waves in live performance, the generation of visual imagery by sound in vibrating media, and the evocation of room acoustics for musical purposes. From 1970 to 2011 he taught at Wesleyan University where he was John Spencer Camp Professor of Music. Lucier performs, lectures and exhibits his sound installations extensively in the United States, Europe and Asia.