Teaching Other Voices: Women and Religion in Early Modern Europe (review)
the catalog opens up avenues for dialog. One might conjure up a discussion about the sounds and facial contortions made by the street crier depicted in Francesco Villamena’s “Io son quell Geminian caldorostaro” (113) and the rhetorical use of hyperbole at the time. Another item will launch speculation about the make-up of music books compiled for amateurs, and the question of musical literacy. In this way, the book invites the reader to step into the bubbling, oftentimes chaotic acoustic cauldron that was early modern London, and to hear the sounds that Caliban learned to cherish. JANET POLLACK Colorado State University