Breaking new ground in the study of tragedy, early modern theatre, and literary London, Metropolitan Tragedy demonstrates that early modern tragedy emerged from the juncture of radical changes in London's urban fabric and the city's judicial procedures. Marissa Greenberg argues that plays by Shakespeare, Milton, Massinger, and others rework classical conventions to represent the city as a locus of suffering and loss while they reflect on actual sources of injustice in sixteenth- and seventeenth-century London: structural upheaval, imperial ambition, and political tyranny. Drawing on a rich archive of printed and manuscript sources, including numerous images of England's capital, Greenberg reveals the competing ideas about the metropolis that mediated responses to theatrical tragedy. The first study of early modern tragedy as an urban genre, Metropolitan Tragedy advances our understanding of the intersections between genre and history.

When the people of Flint, Michigan, turned on their faucets in April 2014, the water pouring out was poisoned with lead and other toxins. Through a series of disastrous decisions, the state government had switched the city’s water supply to a source that corroded Flint’s aging lead pipes. Complaints about the foul-smelling water were dismissed: the residents of Flint, mostly poor and African American, were not seen as credible, even in matters of their own lives. It took eighteen months of activism by city residents and a band of dogged outsiders to force the state to admit that the water was poisonous. By that time, twelve people had died and Flint’s children had suffered irreparable harm. The long battle for accountability and a humane response to this man-made disaster has only just begun. In the first full account of this American tragedy, Anna Clark's The Poisoned City recounts the gripping story of Flint’s poisoned water through the people who caused it, suffered from it, and exposed it. It is a chronicle of one town, but could also be about any American city, all made precarious by the neglect of infrastructure and the erosion of democratic decision making. Places like Flint are set up to fail—and for the people who live and work in them, the consequences can be fatal.

Ambitious, but ill-educated, naïve, and immature, Clyde Griffiths is raised by poor and devoutly religious parents to help in their street missionary work. As a young adult, Clyde must, to help support his family, take menial jobs as a soda jerk, then a bellhop at a prestigious Kansas City hotel. There, his more sophisticated colleagues introduce him to bouts of social drinking and sex with prostitutes. Enjoying his new lifestyle, Clyde becomes infatuated with manipulative Hortense Briggs, who takes advantage of him. After being in a car accident in which a young girl loses her life, Clyde is forced to run away from the town in search for the new life.

This interpretation of the cultural consequences of social, economic, religious, and political change in early modern London challenges many long-held assumptions of historians and literary critics.