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1 1 A good example is David M. Guss, To Weave and Sing: Art, Symbol, and Narrative in the South American Rainforest (Berkeley: University of California Press, 1990). The American Historical Association published a roundtable on material culture in American Historical Review (December 2009); see also Sam Roberts, “Object Lessons in History,” New York Times (September 27, 2014).

2 2 Sidney Mintz, Sweetness and Power: The Place of Sugar in Modern History (New York: Penguin Books, 1985). See also Frederick H. Smith, Caribbean Rum: A Social and Economic History (Gainesville: University Press of Florida, 2008); Gregory Cushman, Guano and the Opening of the Pacific World: A Global Ecological History (New York: Cambridge University Press, 2013); Salman Rushdie, The Jaguar Smile: A Nicaraguan Journey (New York: Random House, 1987).

3 3 “¿Qué son los Objectos Desobedientes?” (August 9, 2014), http://www.bbc.co.uk/mundo/noticias/2014/08/140801_finde_cultura_objetos_desobedientes_ch.

4 4 Gilbert Seldes, The 7 Lively Arts: The Classic Appraisal of the Popular Arts: Comic Strips, Movies, Musical Comedy, Vaudeville, Radio, Popular Music, Dance (Mineola, NY: Dover Publications, 2001; originally published in 1924).

5 5 Maia Fernández‐Lamarqu and Foreword by John Stephens, Variations of the Story as a Socio‐Ethical Text (Jefferson, NC: McFarland & Company, 2019). This investigation came as a wonderful suggestion from one of the reviewers.

6 6 Matías Dewey, Making it at Any Cost: Aspirations and Politics in a Counterfeit Clothing Marketplace (Austin: University of Texas Press, 2020).

7 7 Peter Steiner, “A Suit Fit for A King: Narratives from a Cultural Empire” (Seminar paper, University of Wyoming, 2014); https://vimeo.com/channels/596143/103385088.