Images of diamonds appear everywhere in American culture. And everyone who has a diamond has a story to tell about it. Our stories about diamonds not only reveal what we do with these tiny stones, but also suggest how we create value, meaning, and identity through our interactions with material culture in general. Things become meaningful through our interactions with them, but how do people go about making meaning? What can we learn from an ethnography about the production of identity, creation of kinship, and use of diamonds in understanding selves and social relationships? By what means do people positioned within a globalized political-economy and a compelling universe of advertising interact locally with these tiny polished rocks? This book draws on 12 months of fieldwork with diamond consumers in New York City as well as an analysis of the iconic De Beers campaign that promised romance, status, and glamour to anyone who bought a diamond to show that this thematic pool is just one resource among many that diamond owners draw upon to engage with their own stones. The volume highlights the important roles that memory, context, and circumstance also play in shaping how people interpret and then use objects in making personal worlds. It shows that besides operating as subjects in an ad-burdened universe, consumers are highly creative, idiosyncratic, and theatrical agents.

Images of diamonds appear everywhere in American culture. And everyone who has a diamond has a story to tell about it. Our stories about diamonds not only reveal what we do with these tiny stones, but also suggest how we create value, meaning, and identity through our interactions with material culture in general.

Things become meaningful through our interactions with them, but how do people go about making meaning? What can we learn from an ethnography about the production of identity, creation of kinship, and use of diamonds in understanding selves and social relationships? By what means do people positioned within a globalized political-economy and a compelling universe of advertising interact locally with these tiny polished rocks?

This book draws on 12 months of fieldwork with diamond consumers in New York City as well as an analysis of the iconic De Beers campaign that promised romance, status, and glamour to anyone who bought a diamond to show that this thematic pool is just one resource among many that diamond owners draw upon to engage with their own stones. The volume highlights the important roles that memory, context, and circumstance also play in shaping how people interpret and then use objects in making personal worlds. It shows that besides operating as subjects in an ad-burdened universe, consumers are highly creative, idiosyncratic, and theatrical agents.

The essays in this volume address the question: what does it mean to understand the contemporary moment in light of the 1930s? In the aftermath of the worst economic crisis since the Great Depression, and facing a dramatic rise of right wing, authoritarian politics across the globe, the events of the 1930s have acquired a renewed relevance. Contributions from a diverse, interdisciplinary group of scholars address the relationship between these historical moments in various geographical contexts, from Asia-Pacific to Europe to the Americas, while probing an array of thematic questions-the meaning of populism and fascism, the contradictions of constitutional liberalism and "militant democracy," long cycles and crisis tendencies in capitalism, the gendering and racialization of right wing movements, and the cultural and class politics of emancipatory struggles. Uncovering continuity as well as change and repetition in the midst of transition, Back to the 30s? enriches our ability to use the past to evaluate the challenges, dangers, and promises of the present.

Women have shared breast milk for eons, but in White Gold, Susan Falls shows how the meanings of capitalism, technology, motherhood, and risk can be understood against the backdrop of an emerging practice in which donors and recipients of breast milk are connected through social media in the southern United States. Drawing on her own experience as a participant, Falls describes the sharing community. She also presents narratives from donors, doulas, medical professionals, and recipients to provide a holistic ethnographic account. Situating her subject within cross-cultural comparisons of historically shifting attitudes about breast milk, Falls shows how sharing "white gold"-seen as a scarce, valuable, even mysterious substance-is a mode of enacting parenthood, gender, and political values. Though breast milk is increasingly being commodified, Falls argues that sharing is a powerful and empowering practice. Far from uniform, participants may be like-minded about parenting but not other issues, so their acquaintanceships add new textures to the body politic. In this interdisciplinary account, White Gold shows how sharing simultaneously reproduces the capitalist values that it disrupts while encouraging community-making between strangers.

Women have shared breast milk for eons, but in White Gold, Susan Falls shows how the meanings of capitalism, technology, motherhood, and risk can be understood against the backdrop of an emerging practice in which donors and recipients of breast milk are connected through social media in the southern United States. Drawing on her own experience as a participant, Falls describes the sharing community. She also presents narratives from donors, doulas, medical professionals, and recipients to provide a holistic ethnographic account. Situating her subject within cross-cultural comparisons of historically shifting attitudes about breast milk, Falls shows how sharing "white gold"-seen as a scarce, valuable, even mysterious substance-is a mode of enacting parenthood, gender, and political values. Though breast milk is increasingly being commodified, Falls argues that sharing is a powerful and empowering practice. Far from uniform, participants may be like-minded about parenting but not other issues, so their acquaintanceships add new textures to the body politic. In this interdisciplinary account, White Gold shows how sharing simultaneously reproduces the capitalist values that it disrupts while encouraging community-making between strangers.

Woven coverlets have appeared in several guises within the history of folk textiles. Created on four-harness looms, coverlets made in the nineteenth-century American South typically featured colored wool and cotton threads woven into striking geometric patterns. Although they are not as well known as other textiles and domestic objects, "overshot" coverlets were, and continue to be, significant examples of material culture that require tremendous skill and creativity to produce. They also express currents of conformity and dissent. In addition to being pleasing to the eye and hand, "overshot" coverlets have advanced a variety of social and political ends. At times exhibited in slave quarters along the seaboard in Georgia and South Carolina in association with plantation properties, they also appear in piedmont areas attached to the antebellum yeomanry, in the context of nationalist craft revivals, and in white-box contemporary art. With Overshot, Susan Falls and Jessica R. Smith analyze what we can learn by examining the exhibition and interpretation of these materials within American public history. By showing how geometric overshot coverlets can be understood in relationship to the global economy and within politicized cultural movements, Falls and Smith demonstrate how these erstwhile domestic, utilitarian objects explode the art/craft dichotomy, belong to a rich narrative of historical art forms, and tell us far more about American culture today than simply representing a nostalgic past, particularly with regard to ideas about race, class, nationalism, women's labor, and the separation of private versus public spaces.

Woven coverlets have appeared in several guises within the history of folk textiles. Created on four-harness looms, coverlets made in the nineteenth-century American South typically featured colored wool and cotton threads woven into striking geometric patterns. Although they are not as well known as other textiles and domestic objects, "overshot" coverlets were, and continue to be, significant examples of material culture that require tremendous skill and creativity to produce. They also express currents of conformity and dissent. In addition to being pleasing to the eye and hand, "overshot" coverlets have advanced a variety of social and political ends. At times exhibited in slave quarters along the seaboard in Georgia and South Carolina in association with plantation properties, they also appear in piedmont areas attached to the antebellum yeomanry, in the context of nationalist craft revivals, and in white-box contemporary art. With Overshot, Susan Falls and Jessica R. Smith analyze what we can learn by examining the exhibition and interpretation of these materials within American public history. By showing how geometric overshot coverlets can be understood in relationship to the global economy and within politicized cultural movements, Falls and Smith demonstrate how these erstwhile domestic, utilitarian objects explode the art/craft dichotomy, belong to a rich narrative of historical art forms, and tell us far more about American culture today than simply representing a nostalgic past, particularly with regard to ideas about race, class, nationalism, women's labor, and the separation of private versus public spaces.