"Stratton's book offers not only "a particularly new history of puritan north America as conceived from a postcolonial vantage point," but must from now on become indispensable reading for scholars of early American (women's) literature, as it reveals paradigmatically the pitfalls and complexities of reconstructing the history of marginalized voices." -Christina Dokou, European Journal of American Studies
"Stratton's dissection of the structural and stylistic elements of The Soveraignty and Goodness of God
presents a case study that brilliantly illuminates the role of intertextuality in historical sources, and challenges readers to be more "culturally responsive" in their interpretations. Buried in Shades of Night
serves as a first step in this collective process, and cautions readers against interpreting a work's persistent prominence as an authentication of its factual accuracy." -American Indian Culture and Research Journal
From the Author
"Flourishing in the late seventeenth century--and extending into the twenty-first century through accounts of prisoners of war such as Jessica Lynch, a multitude of others taken prisoner in Iraq and Afghanistan, as well as hostages taken by Somali pirates--the image of the captive remains an enduring literary figure. Narratives of captivity have proven to be essential instruments of ideology and particularly adaptive vehicles for the dissemination of hegemonic knowledge in the name of historical discourse. Much more than simply representing events as they occurred, Indian captivity narratives became a popular means by which colonial writers (re)presented the "Horrors of Indian Warfare"--to use the title of a popular nineteenth-century historical text--to a fervent American public whose desire for Native land seemed insatiable.
" --From the Introduction, Buried In Shades of Night: Contested Voices, Indian Captivity and the Legacy of King Philip's War