Winner of the Margaret Mead Award of the Society for Applied Anthropology

The farm crisis of the 1980s was the worst economic disaster to strike rural America since the Depression—thousands of farmers lost their land and homes, irrevocably altering their communities and, as Kathryn Marie Dudley shows, giving rise to devastating social trauma that continues to affect farmers today. Through interviews with residents of an agricultural county in western Minnesota, Dudley provides an incisive account of the moral dynamics of loss, dislocation, capitalism, and solidarity in farming communities.

The End of the Line tells the story of the 1988 closing of the Chrysler assembly plant in Kenosha, Wisconsin. Kathryn Marie Dudley uses interviews with residents to chart the often confusing process of change that deindustrialization forced on every corner of the community. This honest, moving portrait of one town's radical shift from a manufacturing to a postindustrial economy will redefine the way Americans think about our families, communities, and future.

"An excellent study not only of the cultural disruptions caused by the shutdown of Chrysler's operations in Kenosha, Wisconsin, but also of the ideology of progress that abetted the shutdown."—Stephen Amberg, Industrial and Labor Relations Review

"With the eye of an anthropologist, [Dudley] examines the tensions between the 'culture of hands' and the 'culture of mind.' Her account is especially instructive because, by many measures, Kenosha has successfully recovered, yet for many the pain still remains."—Booklist

"Exceptional. . . . Should be widely read."—Douglas Harper, Contemporary Sociology

"Make[s] clear what a tenuous concept economic security is, especially when the rules for achieving security are in flux."—Barbara Presley Noble, New York Times

It whispers, it sings, it rocks, and it howls. It expresses the voice of the folk—the open road, freedom, protest and rebellion, youth and love. It is the acoustic guitar. And over the last five decades it has become a quintessential American icon. Because this musical instrument is significant to so many—in ways that are emotional, cultural, and economic—guitar making has experienced a renaissance in North America, both as a popular hobby and, for some, a way of life.

In Guitar Makers, Kathryn Marie Dudley introduces us to builders of artisanal guitars, their place in the art world, and the specialized knowledge they’ve developed. Drawing on in-depth interviews with members of the lutherie community, she finds that guitar making is a social movement with political implications.  Guitars are not simply made—they are born.  Artisans listen to their wood, respond to its liveliness, and strive to endow each instrument with an unforgettable tone. Although professional luthiers work within a market society, Dudley observes that their overriding sentiment is passion and love of the craft. Guitar makers are not aiming for quick turnover or the low-cost reproduction of commodities but the creation of singular instruments with unique qualities, and face-to-face transactions between makers, buyers, and dealers are commonplace.

In an era when technological change has pushed skilled artisanship to the margins of the global economy, and in the midst of a capitalist system that places a premium on ever faster and more efficient modes of commerce, Dudley shows us how artisanal guitar makers have carved out a unique world that operates on alternative, more humane, and ecologically sustainable terms.