Cotton Way Classics

A little bit retro with a tasteful blend of trendy and traditional, these 13 designs from popular Moda Fabrics designer Bonnie Olaveson of Cotton Way are presented together for the first time in a curated collection of all-time favorites. Styled photos showcase lap-sized to bed-sized projects featuring classic blocks in traditional settings. Fill your home with fresh and light patchwork that will never go out of style!

A classic in the literature of nostalgia. An appreciation for the Piedmont life and culture.

Since its original publication in 1987, Like a Family has become a classic in the study of American labor history. Basing their research on a series of extraordinary interviews, letters, and articles from the trade press, the authors uncover the voices and experiences of workers in the Southern cotton mill industry during the 1920s and 1930s. Now with a new afterword, this edition stands as an invaluable contribution to American social history. "The genius of Like a Family lies in its effortless integration of the history of the family--particularly women--into the history of the cotton-mill world.--Ira Berlin, New York Times Book Review "Like a Family is history, folklore, and storytelling all rolled into one. It is a living, revelatory chronicle of life rarely observed by the academe. A powerhouse.--Studs Terkel "Here is labor history in intensely human terms. Neither great impersonal forces nor deadening statistics are allowed to get in the way of people. If students of the New South want both the dimensions and the feel of life and labor in the textile industry, this book will be immensely satisfying.--Choice

Discover a wealth of antique-inspired blocks and quilts to lead you on Hope's Journey. Inside a dozen chapters, author Betsy Chutchian shares timeless block patterns in a variety of sizes, along with a collection of small quilts to sew using reproduction fabrics. * 28 traditional block patterns * 11 beautiful small quilt patterns * 4 large sampler-style settings for the blocks you make Mix and match your completed blocks into a spectacular sampler quilt that will guide you toward your journey's end. A rich visual treat for lovers of vintage quilts, each chapter also includes fascinating facts about the American frontier and the hopeful journeys that pioneers took in search of a better life.

A re-discovered masterpiece of reporting by a literary icon and a celebrated photographer In 1941, James Agee and Walker Evans published Let Us Now Praise Famous Men, a 400-page prose symphony about three tenant farming families in Hale County, Alabama, at the height of the Great Depression. The book shattered journalistic and literary conventions. Critic Lionel Trilling called it the “most realistic and most important moral effort of our American generation.” The origins of Agee and Evans’s famous collaboration date back to an assignment for Fortune magazine, which sent them to Alabama in the summer of 1936 to report a story that was never published. Some have assumed that Fortune’s editors shelved the story because of the unconventional style that marked Famous Men, and for years the original report was presumed lost. But fifty years after Agee’s death, a trove of his manuscripts turned out to include a typescript labeled “Cotton Tenants.” Once examined, the pages made it clear that Agee had in fact written a masterly, 30,000-word report for Fortune. Published here for the first time, and accompanied by thirty of Walker Evans’s historic photos, Cotton Tenants is an eloquent report of three families struggling through desperate times. Indeed, Agee’s dispatch remains relevant as one of the most honest explorations of poverty in America ever attempted and as a foundational document of long-form reporting. As the novelist Adam Haslett writes in an introduction, it is “a poet’s brief for the prosecution of economic and social injustice.”

High Cotton is an extraordinarily rich account of the dreams and inner turmoils of a new generation of the black upper middle class, capturing the essence of a part of American society that has mostly been ignored in literature. The novel's protagonist journeys from his childhood home in the midwest to college, a stint in New York publishing, and Europe, yet the issue of his "blackness" remains at the heart of his being.

Today's world textile and garment trade is valued at a staggering $425 billion. We are told that under the pressure of increasing globalisation, it is India and China that are the new world manufacturing powerhouses. However, this is not a new phenomenon: until the industrial revolution, Asia manufactured great quantities of colourful printed cottons that were sold to places as far afield as Japan, West Africa and Europe. Cotton explores this earlier globalised economy and its transformation after 1750 as cotton led the way in the industrialisation of Europe. By the early nineteenth century, India, China and the Ottoman Empire switched from world producers to buyers of European cotton textiles, a position that they retained for over two hundred years. This is a fascinating and insightful story which ranges from Asian and European technologies and African slavery to cotton plantations in the Americas and consumer desires across the globe.

WINNER OF THE BANCROFT PRIZE • A Pulitzer Prize finalist that's as unsettling as it is enlightening: a book that brilliantly weaves together the story of cotton with how the present global world came to exist. “Masterly … An astonishing achievement.” —The New York Times The empire of cotton was, from the beginning, a fulcrum of constant global struggle between slaves and planters, merchants and statesmen, workers and factory owners. Sven Beckert makes clear how these forces ushered in the world of modern capitalism, including the vast wealth and disturbing inequalities that are with us today. In a remarkably brief period, European entrepreneurs and powerful politicians recast the world’s most significant manufacturing industry, combining imperial expansion and slave labor with new machines and wage workers to make and remake global capitalism.

From “the best writer of mayhem yarns since Raymond Chandler” (San Francisco Chronicle) comes a hard-hitting, entertaining entry in the trailblazing Harlem Detectives series about two NYPD detectives who must piece together the clues of the scam of a lifetime. Flim-flam man Deke O’Hara is no sooner out of Atlanta’s state penitentiary than he’s back on the streets working a big scam. As sponsor of the Back-to-Africa movement, he’s counting on a big Harlem rally to produce a massive collection—for his own private charity. But the take is hijacked by white gunmen and hidden in a bale of cotton that suddenly everyone wants to get his hands on. As NYPD detectives “Coffin Ed” Johnson and “Grave Digger” Jones face the complexity of the scheme, we are treated to Himes’s brand of hard-boiled crime fiction at its very best.

A magnificent work of original research that unravels history through textiles and cloth—how we make it, use it, and what it means to us. How is a handmade fabric helping save an ancient forest? Why is a famous fabric pattern from India best known by the name of a Scottish town? How is a Chinese dragon robe a diagram of the whole universe? What is the difference between how the Greek Fates and the Viking Norns used threads to tell our destiny? In Fabric, bestselling author Victoria Finlay spins us round the globe, weaving stories of our relationship with cloth and asking how and why people through the ages have made it, worn it, invented it, and made symbols out of it. And sometimes why they have fought for it. She beats the inner bark of trees into cloth in Papua New Guinea, fails to handspin cotton in Guatemala, visits tweed weavers at their homes in Harris, and has lessons in patchwork-making in Gee's Bend, Alabama - where in the 1930s, deprived of almost everything they owned, a community of women turned quilting into an art form. She began her research just after the deaths of both her parents —and entwined in the threads she found her personal story too. Fabric is not just a material history of our world, but Finlay's own journey through grief and recovery.