The introduction to Sounding Otherness in Early Modern Drama and Travel: Uncanny Vibrations in the English Archive discusses the key terms that orient this book. “Sounding” indicates the production of noise, and interpretation of sounds. “Otherness,” the resonance of difference, engages psychoanalytic, postcolonial, and critical race theories. Sounding otherness generates the sonic uncanny, an experience of the familiar and foreign simultaneously that is catalyzed through sound. Soundwaves producing audible noise and material vibration conjoining bodies and matter create the sonic uncanny. Sounding otherness is particularly relevant to the Renaissance: not only were travelers venturing both East and West from England, their sonic encounters recorded in travel narratives and enacted on stage, but also the vibratory properties of sound were becoming widely understood and theorized.