Nature and the Enviroment
Picture books
Aaron Becker. 2013). Journey. This wordless picture book charts the adventures of a lonely/bored girl with a magical red crayon that charts her way into adventures, beginning with her drawing of a door on her bedroom wall which leads to a magical forest. Unlike Where the Wild Things are, her adventures take her beyond the forest to a magical city and into the sky. Focus on how the emotions she experiences at each place are conveyed and the symbolism of the pheonix and where he leads her.
Rebecca Young and Matt Ottley.(2015). Teacup. This lyrical but sparsely-worded story can be read as a tale about migration or the process of imaginative creation. The words are deceptively simple, relying on contrast and the accumulation of images to tell the story. Look at the symbolism of the items he takes with him (especially the teacup) as well as the sea, the boat and the tree. The illustrations are equally symbolic, using space, proportion and 'camera angles' to enrich the text. Better responses would also discuss the way the text and illustrations interact in the readers mind to discover the role of imagination and memory in creating identity.
Songs
Sondheim, Steven. (). "The advantages of floating in the middle of the Sea" from Pacific Overtures. This satirical song (lyrics available here [http://www.sondheimguide.com/pacific.html] describes the Western view of Japanese culture as engaged in quiet peaceful tasks while the rest of the world carries on moving into the future. It could be read wither from a metaphorical [perspective (lie Life of Pi) or analysed in detail to discover the ways that the writer is satirizing the Western “us” and “them” attitude. This song (both lyrics and music) lends itself particularly well to a postcolonial analysis.
Songs Sondheim, Steven. Into the Woods. [Ms Carmyn has a copy]. A musical version of the ultimate postmodern fairytale: Cinderella, Red riding hood, Rapunzel, and Jack of Beanstalk fame journey into the woods to achieve their ‘wishes.’ Like some scenes in The Tempest, the woods are dark and dangerous, but they do teach each of the characters that caring about each other is the only way to achieve happiness. Analyse the stage set and soundtrack as well as lyrics such as “You are not alone”. Recommended for advanced students who are using a feminist or psychoanalytical approach to interpretation and standard students who are looking at the archeotypes using in Life of Pi. The Song “Into the Woods” fits this perfectly.
Muttonbirds. (). “Anchor me”. [Watch the Muttonbirds version online at http://www.youtube.com/watch?v=kPIhhqM4b4s or the Greenpeace version at http://www.youtube.com/watch?v=KQ99ouGxgkg]This song argues that a relationship can “anchor” the persona against the pain and horror of his life. Discuss the extended metaphor of the sea, the biblical and Shakespearean (The Tempest) allusions and the symbolism of the images in the video clip. This original video emphasises shifting blue light and floating images, but also literal images such as the boat, the shark, the car in the rain and people floating “up” and “down” while the Greenpeace video uses clichéd symbols such as a dove and rainbow juxtaposed with symbols of industrial pollution to give the song a far less personal context. If your argument discusses macro and micro processes of discovery, you could discuss the way the videos reinterpret the context of the song. Recommended for advanced students.
Short Stories
Baynton, Barbara. (). “A Dreamer” in Bush Studies. Set in colonial Australia, this story depicts the Australian landscape as an destructive force that divides the protagonist from those she loves. Analyse the way the landscape and weather symbolise the protagonist’s psychological state, and discuss the force of love which gives her courage to discover a way to overcome all obstacles as well as the irony of the ending
Chernin, Kim, (2000). “Initiation” in A woman’s path: women’s best spiritual travel writing. (Belonging folder at 820.9) When the Jewish-American writer goes to Israel to work on a Kibbutz, she does not expect that her most profound sense of discovery will be with a group of Morrocan villagers with whose language she cannot speak. Discuss the rich sensory imagery (sights, smalls, sounds) that depict her connection to the land (and the goddess she feels is embodied in the land).
Plays
Wright, Nicholaus. His Dark Materials (822 WRI). Based on Phillip Pullman’s best selling fantasy trilogy, this play is set in a world where people’s souls are manifest externally as companion animals called ‘daemons’. Although the characters are children, the play is written for a wide audience and contains interesting philosophical ideas about discovering one’s identity. Recommended for standard students who enjoy fantasy and advanced students who are willing to investigate the literary, religious and scientific references (look online – there are lots of analyses).
Novels
Blake, Bronwyn. Rock Dancer. Leah is an elite gymnast who failed to catch her friend Morgan in the training accident which put her in a coma. Her family has moved to a country high school where Leah is sent on a rock climbing camp. Discuss the way internal monologue allows the reader into Leah’s head and the way sensory imagery of the landscape (which is almost a character on it’s own!) shows her progress from isolation, through tentative connections with other students, to deal with her feelings of guilt and the discovery of her place in this new context. The author’s view can be found at http://www.bronwynblake.com.au/rockdancer.html.
Christopher, Lucy. Stolen. This award-winning novel portrays the relationship between a teenage girl and her kidnapper, managing to escape simple categories such as villain and victim. Discuss the structure (a “letter” to her captor) the language (intense and emotive descriptions, esp. of the Australian outback) and the characterisation through dialogue (depicting their initial alienation and their gradual shift toward belonging).
Savides, Irene. Willow Tree and Olive. Memories of abuse are triggered by a guest speaker school PDHPE programme, causing Olive to run away from school and eventually re-evaluate her experiences while on holiday with distant family in Greece. Discuss the way the protagonist and her family deal with her slowly unfolding memories, paying particular attention to metaphor and the healing effects of the landscape.
Winton, Tim. Blueback. Abel lives with his mother by the beach where he meets the giant fish, Blueback. When his mother is approached by developers they fight to save the bay where they belong. Focus on Winton’s sumptuous language as well as the relationships between people and place which exist on a spiritual level. The author’s views on Blueback and the writing process can be found at http://users.tpg.com.au/waldrenm/winton.html
The Secret River by Kate Grenville. The Text Publishing Company 2006 (2005). ISBN-13: 9781921145254. 336 pp. This is superb – a wonderfully readable account of William Thornhill, transported to the colony in 1806, with his wife Sal and his children. William has grown up on the meanest of London streets and has known hunger and fear, but never anything as alien as the foreign world of Sydney Cove: ‘How could air, water, dirt and rocks fashion themselves to be so outlandish?’ This is the ultimate emancipist story and a redisocvery of into the settlers’ inability to maintain the indigenous sense of belonging to the land.
•Fowler, Karen Joy, We are All Completely Beside Ourselves
Critical Essays
Plumwood, Val (2000) Being Prey. (online at http://www.aislingmagazine.com/aislingmagazine/articles/TAM30/ValPlumwood.html ) Val Plumwood was an eco-feminist (ecologist and feminist) who thought we should radically re-think the ways we interact with the environment. Instead of exploiting the environment (the way colonists exploited native peoples or men exploited women), she thought we should live as part of an ecosystem - even when this meant we became prey rather than predators. Ignore the philosophical content and focus instead on the beginning and end, noticing different ways she belongs to the Kakadu landscape – first as a tourist and then as a crocodile’s dinner! (Yes, it’s a true story). Look the way the lyrical sensory imagery enables to reader to discover her experience of the setting, then the violent verbs and short sentences reject her. In the last page, look at the way the experience is used to symbolise a larger discovery of the ways humans should interact with the environment – as part of the ecosystem, not the “owners” of land. Because it’s about the “wilderness” of nature, this text works very well with The Tempest because the play creates a strong dichotomy between the idyllic experience of the island as controlled by Prospero and the inherent wildness of the indigenous beings (Ariel and Caliban). You could also contrast Prospero’s control of nature (esp. the elements/weather) with Plumwood’s philosophy. Look in Belonging on the O-drive for an analysis of this text.
Films
Caro, Niki. Whale Rider. A young Maori girl invokes the spirit of her ancestors, despite the sexism of her community to discover her true destiny as a cultural leader. Think about how she uses her cultural traditions to challenge her community and compare the ways different techniques like the soundtrack, the voice-over wide panoramic shots of the seascape and intimate point of view shots position the hero in her community. Listen to the extras to find out more about what the director intended. The review at http://filmforthesoul.blogspot.com/2009/06/year-2002-whale-rider-niki-caro.html is quite negative but shows you how to discuss techniques.Shyamalan, M. Knight. The Village. (coming soon. Ms Gregory has a copy.) A suspenseful film (think about the soundtrack here!) about social control set in a village cut off from the world by a forest full of monsters (but not a horror film). Focus and the way the camera makes the setting claustrophobic and the symbolism of the colour red as well as specific relationships between the characters. It has a great commentary which deconstructs the film techniques. An excellent analysis of the themes can be found at http://vhcook.com/film/filmthevill.htm. This review also responses to some of the criticisms about the film’s plot-twist. It would work well with As you like it or Skrzynecki’s poetry.
Wier, Peter. Picnic at Hanging Rock. This Australian classic is a mystery film raising questions about the disappearance of a group of Edwardian school girls on an excursion at Hanging Rock. Focus on the conflict between the prim and proper European school life (esp costumes, props and interior settings) and the haunting, mysterious quality of the Australian landscape (esp. in cinematography and soundtrack).
Shark Girl
Poems
Whitman, Walt. Leaves of Grass (1855). This book-length poem is an American classic. Although it is a tough read, if you sit back and let the language wash over you, you will find lots of relevant bits which link with your set text. At the heart of the poem is the insistence that the poet and his world/landscape are one, and that “with the twirl of my tongue I encompass worlds and volumes of worlds”, something which could equally well be said about Prospero in the Tempest (who also “knows well [his] own egotism”!) or the semi-mystical experiences in Life of Pi. Focus on the conscious use of language to discover new ways of looking at the world, as well as the way the the reader gradually comes to identify with the “I” of the poem. An analysis if this text can be found at Schmoop [
Hopkins, Gerard Manly. "God's Grandeur" describes the vision of God through nature. The poem available here [http://www.poets.org/poetsorg/poem/gods-grandeur] and Schmoop has a detailed analysis. It would work very well with Life of Pi. You might also want to look at some of his other pomes such as The Windhover [http://www.shmoop.com/the-windhover/]...
Poe, Edgar Allen. "Dreamland". Poe is well-known as a master of suspense, creating creepy gothic landscapes and characters which could grace any horror film. This poem celebrates the power of the imagination to create adn transform our emotions - in this case through eeie chasms filled with ghouls and other horrific creatures. Look for chains of metaphors and the emotions they evoke and compare these to the symbols in texts such as Life of Pi and The Tempest. You can find the poek online at Schmoop [http://www.shmoop.com/dream-land-poe/]
Rilke, Rainer Maria. “The Island” in The Rose Window, trans. Franz Knight, 1990. This set of three poems depicts the relationship of Man with the isolation of an Island environment. It would suit and advanced student studying The Tempest.
Rilke, Rainer Maria. “The Panther – in the Jardin de Plantes (a zoo), Paris” in The Rose Window, trans. Richard Exner, 1984. This poem, translated from German, attempts to capture the “essence” of a panther in words. Bound by the bars of his prison, he remains powerful and dangerous, dreaming of his wild self. You can read many different translations of this poem at [http://www.thebeckoning.com/poetry/rilke/rilke3.html] - read them all and pick the one you like best. This would contrast well with the tiger in Life of Pi and could also be compared to the experiences of the refugees in Go back to where you came from.
Rilke, Rainer Maria. “The Gazelle” in The Rose Window, trans. C F MacIntyre, 1940. This poem, translated from German, attempts to capture the “essence” of a gazelle in words. Focus on the enjamebment, word choice and the extended metaphors and the way the narrator begins to resurrect the gazelle through his imagination. This reflects the mystical role of the tiger in Life of Pi (his poem “The Unicorn” would also work in this way) and could also be used to analyse Prospero’s appropriation of nature in The Tempest .
Quansah, Grace. “The Awakening of Elmina” in Unheard Voices: a collection of stories and poems to commemorate the 200th anniversary of the Abolition of the Slave Trade Act. Ed. Malorie Blackman. This poem describes the narrator’s discovery of the terrible slave-trading past when visiting the World Heritage site of Elmina Castle, Ghana. The voice moves from relatively formal travel guide to a history book vocabulary filled with powerful adjectives to reflect the narrator’s horrific heritage. Her experiences would fit very well with those of the participants in Go back to where you came from.
Stevens, Wallace. "The Idea of Order at Key West" uses sumptuous imagery and scientific processes to personify the Island (Keu WEst) as the untamed creator of herself. By end of the poem, however, cities and harbours and marinas have "portioned" her wild seas into tame, ordered segments for hte use of humans. It is an excellent overview of hte colonial process and could work well with The Tempest if you are focusing on the r9ole of the Caliban and the island setting. It can be found online here [http://www.poetryfoundation.org/poem/172206]
Aaron Becker. 2013). Journey. This wordless picture book charts the adventures of a lonely/bored girl with a magical red crayon that charts her way into adventures, beginning with her drawing of a door on her bedroom wall which leads to a magical forest. Unlike Where the Wild Things are, her adventures take her beyond the forest to a magical city and into the sky. Focus on how the emotions she experiences at each place are conveyed and the symbolism of the pheonix and where he leads her.
Rebecca Young and Matt Ottley.(2015). Teacup. This lyrical but sparsely-worded story can be read as a tale about migration or the process of imaginative creation. The words are deceptively simple, relying on contrast and the accumulation of images to tell the story. Look at the symbolism of the items he takes with him (especially the teacup) as well as the sea, the boat and the tree. The illustrations are equally symbolic, using space, proportion and 'camera angles' to enrich the text. Better responses would also discuss the way the text and illustrations interact in the readers mind to discover the role of imagination and memory in creating identity.
Songs
Sondheim, Steven. (). "The advantages of floating in the middle of the Sea" from Pacific Overtures. This satirical song (lyrics available here [http://www.sondheimguide.com/pacific.html] describes the Western view of Japanese culture as engaged in quiet peaceful tasks while the rest of the world carries on moving into the future. It could be read wither from a metaphorical [perspective (lie Life of Pi) or analysed in detail to discover the ways that the writer is satirizing the Western “us” and “them” attitude. This song (both lyrics and music) lends itself particularly well to a postcolonial analysis.
Songs Sondheim, Steven. Into the Woods. [Ms Carmyn has a copy]. A musical version of the ultimate postmodern fairytale: Cinderella, Red riding hood, Rapunzel, and Jack of Beanstalk fame journey into the woods to achieve their ‘wishes.’ Like some scenes in The Tempest, the woods are dark and dangerous, but they do teach each of the characters that caring about each other is the only way to achieve happiness. Analyse the stage set and soundtrack as well as lyrics such as “You are not alone”. Recommended for advanced students who are using a feminist or psychoanalytical approach to interpretation and standard students who are looking at the archeotypes using in Life of Pi. The Song “Into the Woods” fits this perfectly.
Muttonbirds. (). “Anchor me”. [Watch the Muttonbirds version online at http://www.youtube.com/watch?v=kPIhhqM4b4s or the Greenpeace version at http://www.youtube.com/watch?v=KQ99ouGxgkg]This song argues that a relationship can “anchor” the persona against the pain and horror of his life. Discuss the extended metaphor of the sea, the biblical and Shakespearean (The Tempest) allusions and the symbolism of the images in the video clip. This original video emphasises shifting blue light and floating images, but also literal images such as the boat, the shark, the car in the rain and people floating “up” and “down” while the Greenpeace video uses clichéd symbols such as a dove and rainbow juxtaposed with symbols of industrial pollution to give the song a far less personal context. If your argument discusses macro and micro processes of discovery, you could discuss the way the videos reinterpret the context of the song. Recommended for advanced students.
Short Stories
Baynton, Barbara. (). “A Dreamer” in Bush Studies. Set in colonial Australia, this story depicts the Australian landscape as an destructive force that divides the protagonist from those she loves. Analyse the way the landscape and weather symbolise the protagonist’s psychological state, and discuss the force of love which gives her courage to discover a way to overcome all obstacles as well as the irony of the ending
Chernin, Kim, (2000). “Initiation” in A woman’s path: women’s best spiritual travel writing. (Belonging folder at 820.9) When the Jewish-American writer goes to Israel to work on a Kibbutz, she does not expect that her most profound sense of discovery will be with a group of Morrocan villagers with whose language she cannot speak. Discuss the rich sensory imagery (sights, smalls, sounds) that depict her connection to the land (and the goddess she feels is embodied in the land).
Plays
Wright, Nicholaus. His Dark Materials (822 WRI). Based on Phillip Pullman’s best selling fantasy trilogy, this play is set in a world where people’s souls are manifest externally as companion animals called ‘daemons’. Although the characters are children, the play is written for a wide audience and contains interesting philosophical ideas about discovering one’s identity. Recommended for standard students who enjoy fantasy and advanced students who are willing to investigate the literary, religious and scientific references (look online – there are lots of analyses).
Novels
Blake, Bronwyn. Rock Dancer. Leah is an elite gymnast who failed to catch her friend Morgan in the training accident which put her in a coma. Her family has moved to a country high school where Leah is sent on a rock climbing camp. Discuss the way internal monologue allows the reader into Leah’s head and the way sensory imagery of the landscape (which is almost a character on it’s own!) shows her progress from isolation, through tentative connections with other students, to deal with her feelings of guilt and the discovery of her place in this new context. The author’s view can be found at http://www.bronwynblake.com.au/rockdancer.html.
Christopher, Lucy. Stolen. This award-winning novel portrays the relationship between a teenage girl and her kidnapper, managing to escape simple categories such as villain and victim. Discuss the structure (a “letter” to her captor) the language (intense and emotive descriptions, esp. of the Australian outback) and the characterisation through dialogue (depicting their initial alienation and their gradual shift toward belonging).
Savides, Irene. Willow Tree and Olive. Memories of abuse are triggered by a guest speaker school PDHPE programme, causing Olive to run away from school and eventually re-evaluate her experiences while on holiday with distant family in Greece. Discuss the way the protagonist and her family deal with her slowly unfolding memories, paying particular attention to metaphor and the healing effects of the landscape.
Winton, Tim. Blueback. Abel lives with his mother by the beach where he meets the giant fish, Blueback. When his mother is approached by developers they fight to save the bay where they belong. Focus on Winton’s sumptuous language as well as the relationships between people and place which exist on a spiritual level. The author’s views on Blueback and the writing process can be found at http://users.tpg.com.au/waldrenm/winton.html
The Secret River by Kate Grenville. The Text Publishing Company 2006 (2005). ISBN-13: 9781921145254. 336 pp. This is superb – a wonderfully readable account of William Thornhill, transported to the colony in 1806, with his wife Sal and his children. William has grown up on the meanest of London streets and has known hunger and fear, but never anything as alien as the foreign world of Sydney Cove: ‘How could air, water, dirt and rocks fashion themselves to be so outlandish?’ This is the ultimate emancipist story and a redisocvery of into the settlers’ inability to maintain the indigenous sense of belonging to the land.
•Fowler, Karen Joy, We are All Completely Beside Ourselves
Critical Essays
Plumwood, Val (2000) Being Prey. (online at http://www.aislingmagazine.com/aislingmagazine/articles/TAM30/ValPlumwood.html ) Val Plumwood was an eco-feminist (ecologist and feminist) who thought we should radically re-think the ways we interact with the environment. Instead of exploiting the environment (the way colonists exploited native peoples or men exploited women), she thought we should live as part of an ecosystem - even when this meant we became prey rather than predators. Ignore the philosophical content and focus instead on the beginning and end, noticing different ways she belongs to the Kakadu landscape – first as a tourist and then as a crocodile’s dinner! (Yes, it’s a true story). Look the way the lyrical sensory imagery enables to reader to discover her experience of the setting, then the violent verbs and short sentences reject her. In the last page, look at the way the experience is used to symbolise a larger discovery of the ways humans should interact with the environment – as part of the ecosystem, not the “owners” of land. Because it’s about the “wilderness” of nature, this text works very well with The Tempest because the play creates a strong dichotomy between the idyllic experience of the island as controlled by Prospero and the inherent wildness of the indigenous beings (Ariel and Caliban). You could also contrast Prospero’s control of nature (esp. the elements/weather) with Plumwood’s philosophy. Look in Belonging on the O-drive for an analysis of this text.
Films
Caro, Niki. Whale Rider. A young Maori girl invokes the spirit of her ancestors, despite the sexism of her community to discover her true destiny as a cultural leader. Think about how she uses her cultural traditions to challenge her community and compare the ways different techniques like the soundtrack, the voice-over wide panoramic shots of the seascape and intimate point of view shots position the hero in her community. Listen to the extras to find out more about what the director intended. The review at http://filmforthesoul.blogspot.com/2009/06/year-2002-whale-rider-niki-caro.html is quite negative but shows you how to discuss techniques.Shyamalan, M. Knight. The Village. (coming soon. Ms Gregory has a copy.) A suspenseful film (think about the soundtrack here!) about social control set in a village cut off from the world by a forest full of monsters (but not a horror film). Focus and the way the camera makes the setting claustrophobic and the symbolism of the colour red as well as specific relationships between the characters. It has a great commentary which deconstructs the film techniques. An excellent analysis of the themes can be found at http://vhcook.com/film/filmthevill.htm. This review also responses to some of the criticisms about the film’s plot-twist. It would work well with As you like it or Skrzynecki’s poetry.
Wier, Peter. Picnic at Hanging Rock. This Australian classic is a mystery film raising questions about the disappearance of a group of Edwardian school girls on an excursion at Hanging Rock. Focus on the conflict between the prim and proper European school life (esp costumes, props and interior settings) and the haunting, mysterious quality of the Australian landscape (esp. in cinematography and soundtrack).
Shark Girl
Poems
Whitman, Walt. Leaves of Grass (1855). This book-length poem is an American classic. Although it is a tough read, if you sit back and let the language wash over you, you will find lots of relevant bits which link with your set text. At the heart of the poem is the insistence that the poet and his world/landscape are one, and that “with the twirl of my tongue I encompass worlds and volumes of worlds”, something which could equally well be said about Prospero in the Tempest (who also “knows well [his] own egotism”!) or the semi-mystical experiences in Life of Pi. Focus on the conscious use of language to discover new ways of looking at the world, as well as the way the the reader gradually comes to identify with the “I” of the poem. An analysis if this text can be found at Schmoop [
Hopkins, Gerard Manly. "God's Grandeur" describes the vision of God through nature. The poem available here [http://www.poets.org/poetsorg/poem/gods-grandeur] and Schmoop has a detailed analysis. It would work very well with Life of Pi. You might also want to look at some of his other pomes such as The Windhover [http://www.shmoop.com/the-windhover/]...
Poe, Edgar Allen. "Dreamland". Poe is well-known as a master of suspense, creating creepy gothic landscapes and characters which could grace any horror film. This poem celebrates the power of the imagination to create adn transform our emotions - in this case through eeie chasms filled with ghouls and other horrific creatures. Look for chains of metaphors and the emotions they evoke and compare these to the symbols in texts such as Life of Pi and The Tempest. You can find the poek online at Schmoop [http://www.shmoop.com/dream-land-poe/]
Rilke, Rainer Maria. “The Island” in The Rose Window, trans. Franz Knight, 1990. This set of three poems depicts the relationship of Man with the isolation of an Island environment. It would suit and advanced student studying The Tempest.
Rilke, Rainer Maria. “The Panther – in the Jardin de Plantes (a zoo), Paris” in The Rose Window, trans. Richard Exner, 1984. This poem, translated from German, attempts to capture the “essence” of a panther in words. Bound by the bars of his prison, he remains powerful and dangerous, dreaming of his wild self. You can read many different translations of this poem at [http://www.thebeckoning.com/poetry/rilke/rilke3.html] - read them all and pick the one you like best. This would contrast well with the tiger in Life of Pi and could also be compared to the experiences of the refugees in Go back to where you came from.
Rilke, Rainer Maria. “The Gazelle” in The Rose Window, trans. C F MacIntyre, 1940. This poem, translated from German, attempts to capture the “essence” of a gazelle in words. Focus on the enjamebment, word choice and the extended metaphors and the way the narrator begins to resurrect the gazelle through his imagination. This reflects the mystical role of the tiger in Life of Pi (his poem “The Unicorn” would also work in this way) and could also be used to analyse Prospero’s appropriation of nature in The Tempest .
Quansah, Grace. “The Awakening of Elmina” in Unheard Voices: a collection of stories and poems to commemorate the 200th anniversary of the Abolition of the Slave Trade Act. Ed. Malorie Blackman. This poem describes the narrator’s discovery of the terrible slave-trading past when visiting the World Heritage site of Elmina Castle, Ghana. The voice moves from relatively formal travel guide to a history book vocabulary filled with powerful adjectives to reflect the narrator’s horrific heritage. Her experiences would fit very well with those of the participants in Go back to where you came from.
Stevens, Wallace. "The Idea of Order at Key West" uses sumptuous imagery and scientific processes to personify the Island (Keu WEst) as the untamed creator of herself. By end of the poem, however, cities and harbours and marinas have "portioned" her wild seas into tame, ordered segments for hte use of humans. It is an excellent overview of hte colonial process and could work well with The Tempest if you are focusing on the r9ole of the Caliban and the island setting. It can be found online here [http://www.poetryfoundation.org/poem/172206]