The Black Death that arrived in the spring of 1348 eventually killed nearly half of England's population. In its long aftermath, wages in London rose in response to labor shortages, many survivors moved into larger quarters in the depopulated city, and people in general spent more money on food, clothing, and household furnishings than they had before. Household Goods and Good Households in Late Medieval London looks at how this increased consumption reconfigured long-held gender roles and changed the domestic lives of London's merchants and artisans for years to come. Grounding her analysis in both the study of surviving household artifacts and extensive archival research, Katherine L. French examines the accommodations that Londoners made to their bigger houses and the increasing number of possessions these contained. The changes in material circumstance reshaped domestic hierarchies and produced new routines and expectations. Recognizing that the greater number of possessions required a different kind of management and care, French puts housework and gender at the center of her study. Historically, the task of managing bodies and things and the dirt and chaos they create has been unproblematically defined as women's work. Housework, however, is neither timeless nor ahistorical, and French traces a major shift in women's household responsibilities to the arrival and gendering of new possessions and the creation of new household spaces in the decades after the plague.

Although individually and collectively Americans have many histories, the dominant view of our national past focuses on the colonial era. The reasons for this are many and complex, touching on stories of the country's origins and of the founding fathers, the privileged position in history granted the thirteen original colonies, and the ways in which the nation has adjusted to change and modernity. But no matter the cause, the result is obvious: images and forms derived from and related to America's colonial past are the single most popular form of cultural expression. Often conceived solely in architectural terms, from the red-brick and white-trimmed buildings that recall eighteenth-century James River estates to the clapboarded saltboxes that recall early New England, Colonial Revival is in fact better understood as a process of remembering. In Re-creating the American Past, architectural historian Richard Guy Wilson and a host of other scholars examine how and why Colonial Revival has persisted in modern times. The volume contains essays that explore Colonial Revival expressions in architecture, landscape architecture, historic preservation, decorative arts, and painting and sculpture, as well as the social, intellectual, and cultural background of the phenomena. Based on the University of Virginia's landmark 2000 conference "The Colonial Revival in America," Re-creating the American Past is a comprehensive and handsome volume that recovers the origins, characteristics, diversity, and significance of the Colonial Revival, situating it within the broader history of American design, culture, and society.