In The Lives in Objects, Jessica Yirush Stern presents a thoroughly researched and engaging study of the deerskin trade in the colonial Southeast, equally attentive to British American and Southeastern Indian cultures of production, distribution, and consumption. Stern upends the long-standing assertion that Native Americans were solely gift givers and the British were modern commercial capitalists. This traditional interpretation casts Native Americans as victims drawn into and made dependent on a transatlantic marketplace. Stern complicates that picture by showing how both the Southeastern Indian and British American actors mixed gift giving and commodity exchange in the deerskin trade, such that Southeastern Indians retained much greater agency as producers and consumers than the standard narrative allows. By tracking the debates about Indian trade regulation, Stern also reveals that the British were often not willing to embrace modern free market values. While she sheds new light on broader issues in native and colonial history, Stern also demonstrates that concepts of labor, commerce, and material culture were inextricably intertwined to present a fresh perspective on trade in the colonial Southeast.

Our lives are filled with objects—ones that we carry with us, that define our homes, that serve practical purposes, and that hold sentimental value. When they are broken, lost, left behind, or removed from their context, they can feel alien, take on a different use, or become trash. The lives of objects change when our relationships to them change. Maia Kotrosits offers a fresh perspective on objects, looking beyond physical material to consider how collective imagination shapes the formation of objects and the experience of reality. Bringing a psychoanalytic approach to the analysis of material culture, she examines objects of attachment—relationships, ideas, and beliefs that live on in the psyche—and illustrates how people across time have anchored value systems to the materiality of life. Engaging with classical studies, history, anthropology, and literary, gender, and queer studies, Kotrosits shows how these disciplines address historical knowledge and how an expanded definition of materiality can help us make connections between antiquity and the contemporary world.

Berlin, 1938. When Beatrice, a young Irish Protestant lace maker, is whisked away from her dreary life to join the household of Felix and Dorthea Metzenburg, she feels like she’s landed in the middle of a fairy tale. Art collectors, and friends to the most fascinating men and women of Europe, the Metzenburgs are part of a world where there is more to desire than she ever imagined. However Germany has launched its campaign of aggression across Europe, and, before long, the conflict reaches the family’s threshold. Retreating to their country estate, the Metzenburgs do their best to ignore the encroaching war until the realities of hunger, illness, and Nazi terror begin to threaten their very existence. In searing and emotional detail, The Life of Objects illuminates Beatrice’s journey from childhood to womanhood, from naïveté to wisdom, as a continent collapses into darkness around her.

An engaging, encyclopedic account of the material world of early modern Britain as told through a unique collection of dated objects The period from 1500 to 1800 in England was one of extraordinary social transformations, many having to do with the way time itself was understood, measured, and recorded. Through a focused exploration of an extensive private collection of fine and decorative artworks, this beautifully designed volume explores that theme and the variety of ways that individual notions of time and mortality shifted. The feature uniting these more than 450 varied objects is that each one bears a specific date, which marks a significant moment—for reasons personal or professional, religious or secular, private or public. From paintings to porringers, teapots to tape measures, the objects—and the stories they tell—offer a vivid sense of the lived experience of time, while providing a sweeping survey of the material world of early modern Britain.

Here, ten world-renowned curators from the Victoria and Albert Museum in London tell the story of ten of the most famous and curious objects acquired by the museum over its history. Among these are "Tipu's Tiger," an almost life-size wooden mechanical toy of a tiger mauling a European soldier; the "Great Bed of Ware," a 10 1/2-foot-wide Elizabethan bed; and a "Shakespeare First Folio," one of the few survivors of an estimated 750 that were originally printed. Learn too about collection building and how careful curation and fortuitous optimism drive and change museum priorities over time.

Traces the remarkable life of a feminist poet through the items and images that have have defined her experiences My Life in 100 Objects is a personal reflection on the events and moments that shaped the life and work of one extraordinary woman. With a masterful, poetic voice, Margaret Randall uses talismanic objects and photographs as launching points for her nonlinear narrative. Through each “object,” Randall uncovers another part of herself, starting in a museum in Amman, Jordan, and ending in the Latin American Studies Association in Boston. Interwoven throughout are her most precious relationships, her growth as an artist, and her brave, revolutionary spirit. As Randall’s adventures often coincide with important moments in history, many of her objects provide a transcontinental glimpse into social upheavals and transitions. She shares memories from her years in Cuba (1969 to 1980) and Nicaragua (1980 to 1984), as well as briefer periods in North Vietnam (immediately preceding the end of the war in 1975), and Peru (during the government of Velasco Alvarado). In her introduction, Randall states, “objects and places have always been alive to me.” Her history too is alive, as much of a means to consider our own present as it is to glimpse her vibrant past.

From the former director of the Museum of Arts and Design in New York, a timely and passionate case for the role of the well-designed object in the digital age. Curator and scholar Glenn Adamson opens Fewer, Better Things by contrasting his beloved childhood teddy bear to the smartphones and digital tablets children have today. He laments that many children and adults are losing touch with the material objects that have nurtured human development for thousands of years. The objects are still here, but we seem to care less and know less about them. In his presentations to groups, he often asks an audience member what he or she knows about the chair the person is sitting in. Few people know much more than whether it's made of wood, plastic, or metal. If we know little about how things are made, it's hard to remain connected to the world around us. Fewer, Better Things explores the history of craft in its many forms, explaining how raw materials, tools, design, and technique come together to produce beauty and utility in handmade or manufactured items. Whether describing the implements used in a traditional Japanese tea ceremony, the use of woodworking tools, or the use of new fabrication technologies, Adamson writes expertly and lovingly about the aesthetics of objects, and the care and attention that goes into producing them. Reading this wise and elegant book is a truly transformative experience.