Twenty thousand years ago, women were making and wearing clothing created from spun fibers. In Women's Work, archaeologist-linguist Elizabeth Wayland Barber weaves the strands of mythology and literature, ethnology and documented history into a rich tapestry (John Noble Wilford, New York Times Book Review), illuminating the vital role women held in pre-industrial societies. With a distinctive and innovative approach to ancient remains, Barber examines ancient textiles from Stone Age string skirts and ancient Egyptian sleeved tunics to intricate Neolithic Swiss linens and colorfully patterned Minoan dresses, offering us captivating glimpses into the daily lives of women through the cloth they made and wore.

Why were Prometheus and Loki envisioned as chained to rocks? What was the Golden Calf? Why are mirrors believed to carry bad luck? How could anyone think that mortals like Perseus, Beowulf, and St. George actually fought dragons, since dragons don't exist? Strange though they sound, however, these myths did not begin as fiction.

This absorbing book shows that myths originally transmitted real information about real events and observations, preserving the information sometimes for millennia within nonliterate societies. Geologists' interpretations of how a volcanic cataclysm long ago created Oregon's Crater Lake, for example, is echoed point for point in the local myth of its origin. The Klamath tribe saw it happen and passed down the story--for nearly 8,000 years.

We, however, have been literate so long that we've forgotten how myths encode reality. Recent studies of how our brains work, applied to a wide range of data from the Pacific Northwest to ancient Egypt to modern stories reported in newspapers, have helped the Barbers deduce the characteristic principles by which such tales both develop and degrade through time. Myth is in fact a quite reasonable way to convey important messages orally over many generations--although reasoning back to the original events is possible only under rather specific conditions.

Our oldest written records date to 5,200 years ago, but we have been speaking and mythmaking for perhaps 100,000. This groundbreaking book points the way to restoring some of that lost history and teaching us about human storytelling.

From Southern Greece to northern Russia, people living in agrarian communities have long believed in dancing goddesses, mystical female spirits who spend their nights and days dancing in the fields and forests. In The Dancing Goddesses, archaeologist, linguist, and lifelong folkdancer Elizabeth Wayland Barber follows the trail of these spirit maidens--long associated with fertility, marriage customs, and domestic pursuits--from their early appearance in traditional folktales and harvest rituals to their more recent incarnations in fairytales and present-day dance. Illustrated with photographs, maps, and line drawings, the result is a brilliantly original work that stands at the intersection of archaeology and folk traditions--at once a rich portrait of our rich agrarian ancestry and an enchanting reminder of the human need to dance.

Some of Ürümchi's mummies date back as far as 4,000 years--contemporary with the famous Egyptian mummies but even more beautifully preserved. Surprisingly, these prehistoric people are not Asian but Caucasoid--tall, large-nosed and blond with thick beards and round eyes. What were these blond Caucasians doing in the heart of Asia? What language did they speak? Might they be related to a lost tribe known from later inscriptions? Few clues are offered by their pottery or tools, but their clothes--woolens that rarely survive more than a few centuries--have been preserved as brightly hued as the day they were woven. Elizabeth Wayland Barber describes these remarkable mummies and their clothing, and deduces their path to this remote, forbidding place. The result is a book like no other--a fascinating unveiling of an ancient, exotic, nearly forgotten world. A finalist for the Kiriyama Pacific Rim Book Prize.

In the past, girls from rural southeastern Europe spent their childhoods weaving, sewing, and embroidering festive dress so that upon reaching puberty they could join the Sunday afternoon village dances garbed in resplendent attire. These extremely colorful and intensely worked garments were often adorned with embroidery, lace, metallic threads, coins, sequins, beads, and, perhaps most importantly, fringe, a symbolic marker of fertility. Over time new forms of dress were added so that by 1900, a southeastern European village woman's apparel consisted of millennia of layered history. Even today this dress continues to be worn on festive occasions and by older people in rural areas.

Lavishly illustrated, Resplendent Dress from Southeastern Europe features fifty stunning nineteenth- through twentieth-century ensembles from Macedonia, Croatia, Albania, Montenegro, and neighboring countries, plus one hundred individual items including aprons, vests, jackets, and robes. Elizabeth Wayland Barber traces this twenty-thousand-year tradition of dress in fascinating detail.

In the past, girls from rural southeastern Europe spent their childhoods weaving, sewing, and embroidering festive dress so that upon reaching puberty they could join the Sunday afternoon village dances garbed in resplendent attire. These extremely colorful and intensely worked garments were often adorned with embroidery, lace, metallic threads, coins, sequins, beads, and, perhaps most importantly, fringe, a symbolic marker of fertility. Over time new forms of dress were added so that by 1900, a southeastern European village woman's apparel consisted of millennia of layered history. Even today this dress continues to be worn on festive occasions and by older people in rural areas.

Lavishly illustrated, Resplendent Dress from Southeastern Europe features fifty stunning nineteenth- through twentieth-century ensembles from Macedonia, Croatia, Albania, Montenegro, and neighboring countries, plus one hundred individual items including aprons, vests, jackets, and robes. Elizabeth Wayland Barber traces this twenty-thousand-year tradition of dress in fascinating detail.