“No two fingerprints are alike,” or so it goes. For nearly a hundred years fingerprints have represented definitive proof of individual identity in our society. We trust them to tell us who committed a crime, whether a criminal record exists, and how to resolve questions of disputed identity.

But in Suspect Identities, Simon Cole reveals that the history of criminal identification is far murkier than we have been led to believe. Cole traces the modern system of fingerprint identification to the nineteenth-century bureaucratic state, and its desire to track and control increasingly mobile, diverse populations whose race or ethnicity made them suspect in the eyes of authorities. In an intriguing history that traverses the globe, taking us to India, Argentina, France, England, and the United States, Cole excavates the forgotten history of criminal identification—from photography to exotic anthropometric systems based on measuring body parts, from fingerprinting to DNA typing. He reveals how fingerprinting ultimately won the trust of the public and the law only after a long battle against rival identification systems.

As we rush headlong into the era of genetic identification, and as fingerprint errors are being exposed, this history uncovers the fascinating interplay of our elusive individuality, police and state power, and the quest for scientific certainty. Suspect Identities offers a necessary corrective to blind faith in the infallibility of technology, and a compelling look at its role in defining each of us.

In late prehistory, the ancestors of the present-day Hopi in Arizona created a unique and spectacular painted pottery tradition referred to as Hopi Yellow Ware. This ceramic tradition, which includes Sikyatki Polychrome pottery, inspired Hopi potter Nampeyo’s revival pottery at the turn of the twentieth century.

How did such a unique and unprecedented painting style develop? The authors compiled a corpus of almost 2,000 images of Hopi Yellow Ware bowls from the Peabody Museum’s collection and other museums. Focusing their work on the exterior, glyphlike painted designs of these bowls, they found that the “glyphs” could be placed into sets and apparently acted as a kind of ­signature.

The authors argue that part-time specialists were engaged in making this pottery and that relatively few households manufactured Hopi Yellow Ware during the more than 300 years of its production.Extending the Peabody’s influential Awatovi project of the 1930s, Symbols in Clay calls into question deep-seated assumptions about pottery production and specialization in the precontact American Southwest.