Fall 2016The centennial of Arthur Miller's birth brought well-deserved attention to his literary legacy. Special events were presented by his alma mater, the University of Michigan, and the Arthur Miller Foundation staged a celebrity-filled fund-raiser on Broadway in support of arts education in the New York City public schools, which Miller himself had attended in his youth. On behalf of the Arthur Miller Society, Steve Marino organized a varied, insightful, and thoroughly engaging centennial celebration at St. Francis College in Miller's old neighborhood in Brooklyn. Inspired revivals of A View from the Bridge, The Crucible, and Incident at Vichy were produced in New York and were accompanied by many excellent productions of Miller plays in regional theaters, including several from the end of his career, such as two fine but quite different stagings of Broken Glass in Watertown, Massachusetts, and Westport, Connecticut, and the Rapture Theatre Company's production of The Last Yankee in Glasgow, Scotland. The United Kingdom also provided stages for two Miller plays that previously had not been produced: No Villain, which he wrote during spring break of his freshman year at the University of Michigan in 1935 and modeled on his family's financial difficulties after his father's coat business failed; and The Hook, a drama about corruption on the Brooklyn waterfront that Miller and Elia Kazan took to Hollywood in 1951 in the hope of finding funding for a movie version. The idea later served as the basis for Budd Schulberg's On the Waterfront, which Kazan directed in 1954 at the height of the McCarthy era as a kind of public reply to Miller's The Crucible (1953) about the morality of informers. All of this was perhaps capped by the Royal Shakespeare Company's London production of Death of a Salesman, a nod in his centennial year to Miller's significance for world literature in the same season in which the RSC commemorated the four hundredth anniversary of Shakespeare's death. Attention certainly was paid . . . and will continue to be paid next spring when The Price is scheduled to open on Broadway.This flurry of productions is due, however, not merely to the centennial. Miller's concerns continue to pervade our society in many ways. I wish he were alive today to comment on our current political situation in the United States. So much of the discussion seems to arise from themes of personal responsibility, forgiveness, and the sense of self we inherited from our culture of the American Dream-both its genuine hope and its hypocrisy. All of these are topics central to Miller's explorations. These are invigorating times for Miller scholarship and performance and lively times for the Arthur Miller Society.The heart of the Arthur Miller Society as a resource both for society members and other people interested in Miller is the society's website and the Arthur Miller Journal. Sue Abbotson, in addition to authoring many influential articles and books on Miller, has been more than impressive for many years in keeping the website up to date with information about upcoming Miller events and productions. Steve Marino founded the Arthur Miller Journal in 2006, continues as its editor, and brilliantly shepherded its adoption in 2014 by the Pennsylvania State University Press as one of its stable of academic journals while also producing several significant Miller publications of his own. It is impossible to start a term as any kind of officer of the Miller Society without acknowledging these two good people as the society's core and thanking them for all they do for all of us and for encouraging Miller studies with such energy.Sue and Steve provide the base for the society, and my hope is that we can grow from this in the future in the following ways. I am eager to hear from any of you about how these projects might be pursued or about other ideas you may have for growing the society and interest in Arthur Miller:* The Arthur Miller Society traditionally has organized panels at several national literature conferences, in particular the Comparative Drama Conference generally in early April and the American Literature Association convention on Memorial Day weekend. …