Results by title

Meth cooks practice late industrial alchemy—transforming base materials, like lithium batteries and camping fuel, into gold

Meth alchemists all over the United States tap the occulted potencies of industrial chemical and big pharma products to try to cure the ills of precarious living: underemployment, insecurity, and the feeling of idleness. Meth fires up your attention and makes repetitive tasks pleasurable, whether it’s factory work or tinkering at home. Users are awake for days and feel exuberant and invincible. In one person’s words, they “get more life.” 

The Alchemy of Meth is a nonfiction storybook about St. Jude County, Missouri, a place in decomposition, where the toxic inheritance of deindustrialization meets the violent hope of this drug-making cottage industry. Jason Pine bases the book on fieldwork among meth cooks, recovery professionals, pastors, public defenders, narcotics agents, and pharmaceutical executives. Here, St. Jude is not reduced to its meth problem but Pine looks at meth through materials, landscapes, and institutions: the sprawling context that makes methlabs possible. The Alchemy of Meth  connects DIY methlabs to big pharma’s superlabs, illicit speed to the legalized speed sold as ADHD medication, uniquely implicating the author’s own story in the narrative. 

By the end of the book, the backdrop of St. Jude becomes the foreground. It could be a story about life and work anywhere in the United States, where it seems no one is truly clean and all are complicit in the exploitation of their precious resources in exchange for a livable present—or even the hope of a future.

"The Empire Inside is unique in its tight focus on the objects from one geographical location, and their deployment in one genre of fiction. This combination results in a powerful study with a wealth of fine formal analyses of literary texts and a similar trove of marvelous historical data."
---Elaine Freedgood, New York University

"In The Empire Inside, Suzanne Daly does a wonderful job integrating an array of primary materials, especially novels and journal essays, to show the extent to which these ‘foreign’ colonial products of India represented absolutely central aspects of domestic life, at once part of the unremarkable everyday experience of Victorians and rich with meanings."
---Timothy Carens, College of Charleston

By the early nineteenth century, imperial commodities had become commonplace in middle-class English homes. Such Indian goods as tea, textiles, and gemstones led double lives, functioning at once as exotic foreign artifacts and as markers of proper Englishness. The Empire Inside: Indian Commodities in Victorian Domestic Novels reveals how Indian imports encapsulated new ideas about both the home and the world in Victorian literature and culture. In novels by Charlotte Brontë, Charles Dickens, and Anthony Trollope, the regularity with which Indian commodities appear bespeaks their burgeoning importance both ideologically and commercially. Such domestic details as the drinking of tea and the giving of shawls as gifts point us toward suppressed connections between the feminized realm of private life and the militarized realm of foreign commerce.

Tracing the history of Indian imports yields a record of the struggles for territory and political power that marked the coming-into-being of British India; reading the novels of the period for the ways in which they infuse meaning into these imports demonstrates how imperialism was written into the fabric of everyday life in nineteenth-century England. Situated at the intersection of Victorian studies, material cultural studies, gender studies, and British Empire studies, The Empire Inside is written for academics, graduate students, and advanced undergraduates in all of these fields.

Suzanne Daly is Associate Professor of English, University of Massachusetts Amherst.

Unlike many other handicrafts in the Mexican state of Oaxaca, which have long cultural and historical trajectories, Oaxacan woodcarving began in the second half of the twentieth century and has always been done for the commercial market. In The Value of Aesthetics, Alanna Cant explores how one family’s workshop in the village of San Martín Tilcajete has become the most critically and economically successful, surpassing those of neighbors who use similar materials and techniques. The dominance of this family is tied to their ability to produce a new aesthetic that appeals to three key “economies of culture”: the tourist market for souvenirs, the national market for traditional Mexican artesanías, and the international market for indigenous art.

Offering a new analytical model by which anthropologists can approach visual aesthetics and conceptualize the power of artworks as socially active objects, The Value of Aesthetics shows how aesthetic practices produce and redefine social and political relationships. By investigating the links between aesthetics and issues of production, authorship, ownership, and identity, Cant shows aesthetic change to be a process that ultimately repackages everyday life into commodified objects in Oaxaca.

Theatre Things: Material Theories and Histories considers key theatrical objects through a comparative approach, examining the uses and histories of different parts of the theatre throughout time and across culture and geography. The ten “theatre things” at the heart of the book are: entrances, tickets, programs, concessions, seats, lights, curtains, stages, trapdoors, and exits. For every object, three different scholars offer short chapters that examine it from different angles across eras, places, and performance traditions to result in a set of diverse and provocative accounts of the many ways objects have functioned throughout theatre history. Written in an accessible style, the book draws on real examples from theatre history around the world to reveal that even the smallest details—where you sit, how the lights shift, what the program says—carry meaning. Whether you’re a regular theatregoer or a curious fan, Theatre Things offers a fresh way to look at the spaces and objects that shape every night at the theatre—and makes them feel newly interesting long after the curtain call.

Revealing how the dead continued to shape the spiritual and social worlds of prehistoric North America.

Transforming the Dead is a collection of essays that examines culturally modified human bones and their roles as “cultural and ritual objects” among prehistoric Eastern Woodland cultures. Previous scholarship has explored the role of human body parts in Native American cultures as trophies of war and revered ancestors. This collection discusses new evidence that human elements were also important components of daily and ritual activities across the Eastern Woodlands. The contributors to this volume discuss each case study within the unique regional and temporal contexts of the material, rather than seeking universal answers to how these objects were used.
 
Most research addressing modified human bone has focused on cut marks and trauma associated with warfare, trophy taking, and burial practices. The editors and contributors of Transforming the Dead document the varied and often overlooked ways that human bone was intentionally modified through drilling, incising, cutting, and polishing for utilitarian, ornamental, spiritual, or ritual use. Examples include bracelets and gorgets to be worn, as well as musical rasps, pipe stems, masks, and protective talismans. The form and function of these objects are not unusual; their construction from the remains of “another” sets them apart.
 
Through a flexible but systematic analysis of the archaeological record, the contributors bring into focus how the careful selection, modification, and retention of particular bones or body parts of an individual after death offer insights into concepts of personhood, the body, life, and death among the prehistoric Native Americans in the Midwest.