Wetland sediments are valuable archives of environmental change but can be challenging to date. Terrestrial macrofossils are often sparse, resulting in radiocarbon (14C) dating of less desirable organic fractions. An alternative approach for capturing changes in atmospheric 14C is the use of terrestrial microfossils. We 14C date pollen microfossils from two Australian wetland sediment sequences and compare these to ages from other sediment fractions (n = 56). For the Holocene Lake Werri Berri record, pollen 14C ages are consistent with 14C ages on bulk sediment and humic acids (n = 14), whilst Stable Polycyclic Aromatic Carbon (SPAC) 14C ages (n = 4) are significantly younger. For Welsby Lagoon, pollen concentrate 14C ages (n = 21) provide a stratigraphically coherent sequence back to 50 ka BP. 14C ages from humic acid and >100 µm fractions (n = 13) are inconsistent, and often substantially younger than pollen ages. Our comparison of Bayesian age-depth models, developed in Oxcal, Bacon and Undatable, highlight the strengths and weaknesses of the different programs for straightforward and more complex chrono-stratigraphic records. All models display broad similarities but differences in modeled age-uncertainty, particularly when age constraints are sparse. Intensive dating of wetland sequences improves the identification of outliers and generation of robust age models, regardless of program used.

American literary studies has shown that the symbolic exclusion of Native Americans from the Puritan and early national imaginaries was an essential component of the making of an American identity. This argument builds on reading practices that stress literary-historical contextualization. Our essay considers how M. Night Shyamalan's film The Village (2004) addresses the continuing relevance of Native American exclusion from the national imaginary not by faithfully representing “history” but by layering its narrative with multiple historical registers. Realized through editing, cinematography, and set design, these registers—seventeenth-century Puritan, turn-of-the-twentieth-century utopian, and “the present”—are stage-managed by a group of idealistic elders who wish to protect their community from the evils of the world outside. While most critics have reduced The Village to an allegory of post-9/11 United States political culture, we propose a viewing of the film as parable that marks historical collapses and exclusions as the limits of utopia.

Recent scholarship in the history of American art has uncovered the deep social, political, and economic context within which specific inividuals invented highly charged (and frequently contested) visions of the American landscape. Drawing attention away from the naturalizing tendency of criticism that emphasizes landscape painting as a reflection of national and transcendental ideals, this kind of analysis has brought new richness to the study of landscapes, weaving political and social history into the criticism of American art. Charting paintings as they function within the constellations of patronage, intellectual history, and reception, these new histories help us understand the cultural work of landscape in the 19th-century United States.