for the conflicted goals that are reflected in the institution's bipartite structure. The Williamsburg educational project, the authors claim, has been plagued by a kind of object-fetishism (the "quest for mimetic accuracy" [p. 76]), the dual-yet-contradictory myths of nostalgia and progress, and most of all, by the attempt to run the museum according to a consumer satisfaction (rather than an educational) model. Of particular interest here are the sections dealing with the training of museum guides ("interpreters"). Also instructive is the authors' analysis of the way the museum deals with the slavery issue and the differences between the approach of African-American interpreters and their white counterparts. It is in this area, the authors argue, that Colonial Williamsburg often fails in its educational mission.

The authors follow this with discussionsis not suitable for minors.

### The Eyes of O'Keefe

Shamus O'Keefe – September, 1912

The rusty hulk of the coastal steamer hissed as it slowly pulled away from the largest dock in Round Harbor. The ship's whistle shrieked so loud Shamus flinched, even though he was expecting it. At the railing he could see Norah holding their son, Patrick, in her arms. Shamus waved, but she stood there impassively, staring back at him. It was no surprise and he deserved no better. His wife and two-year-old son were bound for Portland, and then on to Boston, where her mother lived. He had driven her away, even though he loved her. She could no longer bear the shame and humiliation he had put her through. His many dalliances were no secret.