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Swedish missionary Albin Johnson arrived in Alaska just before the turn of the twentieth century, thousands of miles from home and with just two weeks’ worth of English classes under his belt. While he intended to work among the Tlingit tribes of Yakutat, he found himself in a wave of foreign arrivals as migrants poured into Alaska seeking economic opportunities and the chance at a different life. While Johnson came with pious intentions, others imposed Western values and vices, leaving disease and devastation in their wake.

Seventeen Years in Alaska is Johnson’s eyewitness account of this tumultuous time. It is a captivating narrative of an ancient people facing rapid change and of the missionaries working to stem a corrupting tide. His journals offer a candid look at the beliefs and lives of missionaries, and they ultimately reveal the profound effect that he and other missionaries had on the Tlingit. Tracing nearly two decades of spiritual hopes and earthbound failures, Johnson’s memoir is a fascinating portrait of a rapidly changing world in one of the most far-flung areas of the globe.

Though much beloved and widely produced, Molière's satirical comedies pose a problem for those reading or staging his works today: how can a genre associated with biting caricature and castigation deliver engaging theater? Instead of simply dismissing social satire as a foundation for Molière's theater, as many have done, Larry F. Norman takes seriously Molière's claim that his satires are first and foremost effective theater.

Pairing close readings of Molière's comedies with insightful accounts of French social history and aesthetics, Norman shows how Molière conceived of satire as a "public mirror" provoking dynamic exchange and conflict with audience members obsessed with their own images. Drawing on these tensions, Molière portrays characters satirizing one another on stage, with their reactions providing dramatic conflict and propelling comic dialogue. By laying bare his society's system of imagining itself, Molière's satires both enthralled and enraged his original audience and provide us with a crucial key to the classical culture of representation.