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Excavations in Duxford, Cambridgeshire, in 2013, revealed six early Roman (a.d. 50–80) pottery kilns. The kilns were used for the production of flagons, specifically collared and ring-necked varieties. Flagons are generally scarce in contemporary domestic assemblages in Cambridgeshire, often only occurring in ‘special’ contexts, such as burials, while collared flagons are closely associated with military consumption. The excavations also produced a large, significant assemblage of perforated kiln plates. The technology and repertoire of vessels suggest that manufacture was conducted by non-local potters for a specialist market. The site forms part of a group of other early Roman kiln sites in the Cambridge environs and adds to the growing picture of pottery production in the decades following the Roman Conquest.

This is the fourth and penultimate volume in David Roy's celebrated translation of one of the most famous and important novels in Chinese literature.The Plum in the Golden Vaseor,Chin P'ing Meiis an anonymous sixteenth-century work that focuses on the domestic life of Hsi-men Ch'ing, a corrupt, upwardly mobile merchant in a provincial town, who maintains a harem of six wives and concubines. The novel, known primarily for its erotic realism, is also a landmark in the development of the narrative art form--not only from a specifically Chinese perspective but in a world-historical context. Written during the second half of the sixteenth century and first published in 1618, ThePlum in the Golden Vaseis noted for its surprisingly modern technique. With the possible exception ofThe Tale of Genji(ca. 1010) andDon Quixote(1605, 1615), there is no earlier work of prose fiction of equal sophistication in world literature. Although its importance in the history of Chinese narrative has long been recognized, the technical virtuosity of the author, which is more reminiscent of the Dickens ofBleak House, the Joyce ofUlysses, or the Nabokov ofLolitathan anything in earlier Chinese fiction, has not yet received adequate recognition. This is partly because all of the existing European translations are either abridged or based on an inferior recension of the text. This complete and annotated translation aims to faithfully represent and elucidate all the rhetorical features of the original in its most authentic form and thereby enable the Western reader to appreciate this Chinese masterpiece at its true worth.

This is not your father's Cask 'n Flagon, the landmark sports tavern that is almost as much a part of the Fenway environs as the Green Monster. Gone are the brick walls that made the place seem dark and institutional; now there are wrap-around 9-foot windows portraying panoramic views of all things Fenway. Gone are the scuffed floors where as much beer has doubtless been sloshed as ordered. Instead, there's spiffy imported tile. There are comfy, cushy banquettes and booths. And out with the old menu, in with the new. The Cask has undergone an extensive face lift, installing a pentagon-shaped island bar and adding 60-plus high-definition televisions always turned to a sports game. If you can't score a ticket to Fenway, the Cask is about as good as it gets. In fact, you can't escape the TV sets -- or the black-and-white framed photos of Red Sox legends watching you as you eat. (I could swear I heard Ted Williams over my left shoulder asking for a bite of my pasta). In the coming weeks, another room will be added for 4,100 more square feet, with a second bar and six 12-foot projector TVs, a stage, dance floor, and DJ booth. Fortunately, the 104-seat outdoor cafe will remain the same as ever. For those used to the old, unpretentious, noisy Cask, the renovations might seem a disappointment. It is clear that the bar is trying to compete with its upscale neighbor, Game On!, which opened last year and has been packed ever since.