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Lord I'm Coming Home focuses on a small, white, rural fishing community on the southern reaches of the Great Dismal Swamp in North Carolina. By means of a new kind of anthropological fieldwork, John Forrest seeks to document the entire aesthetic experience of a group of people, showing the aesthetic to be an "everyday experience and not some rarefied and pure behavior reserved for an artistic elite." The opening chapter of the book is a vivid fictional narrative of a typical day in "Tidewater," presented from the perspective of one fisherman. In the following two chapters the author sets forth the philosophical and anthropological foundations of his book, paying particular attention to problems of defining "aesthetic," to methodological concerns, and to the natural landscape of his field site. Reviewing his own experience as both participant and observer, he then describes in scrupulous detail the aesthetic forms in four areas of Tidewater life: home, work, church, and leisure. People use these forms, Forrest shows, to establish personal and group identities, facilitate certain kinds of interactions while inhibiting others, and cue appropriate behavior. His concluding chapter deals with the different life cycles of men and women, insider-outsider relations, secular and sacred domains, the image and metaphor of "home," and the essential role that aesthetics plays in these spheres. The first ethnography to evoke the full aesthetic life of a community, Lord I'm Coming Home will be important reading not only for anthropologists but also for scholars and students in the fields of American studies, art, folklore, and sociology.

Intro -- Contents -- Preface -- Acknowledgment -- Chapter 1 -- Messy Culture -- Chapter 2 -- The Vain Search for Order: Culture Is Messy -- Messy vs Noisy -- Chaos and Complexity -- Classification -- Chapter 3 -- What Is England? Does Englishness Exist? -- Place of Birth -- Chapter 4 -- Historical Layers: Prehistory to the 18th Century (What English People Remember) -- Prehistory (Paleolithic to Iron Age) -- Roman Britain -- Anglo-Saxon England and Beyond -- Chapter 5 -- Nineteenth Century England (1) General Trends -- Chapter 6 -- Nineteenth Century England (2) Home and Abroad -- World Stage -- Literature, Poetry, and the Arts -- Science, Technology, and Industry -- Transportation -- Chapter 7 -- The English Language -- Irregular Verbs -- Moods -- Phrasal Verbs -- Order of Adjectives -- Countable and Uncountable -- Common "Mistakes" -- Germanic or Creole? -- Chapter 8 -- Law and Governance -- The Reform Act 1832 -- House of Lords -- Brexit -- Chapter 9 -- Education -- Public Schools -- Local Schools -- General English -- Arithmetic -- General Intelligence/Knowledge -- Universities -- Chapter 10 -- Sports and Pastimes -- Football -- Cricket -- The English Lawn and Lawn Sports (Croquet, Bowls, and Tennis) -- Chapter 11 -- Food and Drink -- Main Meals -- Essentials -- Trimmings (Common but Not Essential) -- The Festive Board -- Christmas -- Pancake Day -- Easter -- Beer and Cider -- Chapter 12 -- English Folklore and Fantasy -- Chapter 13 -- Music -- Classical Music -- Church Music -- Popular Music -- Folk Music -- Also -- Chapter 14 -- Humor -- 1940s -- 1950s -- Radio -- Television -- 1960s -- 1970s and Beyond -- Chapter 15 -- Messy Endings -- References -- Index of Names -- Index of Terms -- About the Author -- Blank Page.

"Ethnographic fieldwork is the hallmark research approach of sociocultural anthropology. Its centrality has not waned since its inception more than a century ago, yet the variety of questions that fieldwork answers have expanded greatly. For instance, anthropologist Olga Lidia Olivia Hernandez studies Aztec dance collectives in multiple sites in Baja California, Mexico, and California, USA. She conducts fieldwork to understand why Aztec dance emerged as a form of ethnicity on the US - Mexico border among non-indigenous participants, and how national, political, religious, and bodily processes are involved in the reappropriation of Aztec dancing (Hernandez, 2018). Taking a more multidisciplinary approach in her fieldwork among Orangutan care workers in Borneo, anthropologist Juno Salazar Parreñas draws on anthropology, primatology, Southeast Asian history, gender studies, queer theory, and science and technology studies. She explores the violence care workers and Orangutans experience. She asks if conservation biology can turn away from violent techniques to ensure Orangutan population growth and embrace a feminist sense of welfare (Parreñas 2018). Anthony Kwame Harrison conducts fieldwork in San Francisco among the underground hip hop scene. Harrison interviewed area hip hop artists and also performed as the emcee "Mad Squirrel." His immersion in the subculture allowed him a unique vantage point to examine the changing nature of race among young Americans, as well as issues of ethnic and racial identification, and how different ethnic groups engage hip hop in different ways as a means to claim racial and establish subcultural authenticity. (Harrison, 2009)"--