A small group of islands off the coast of Newfoundland—Saint Pierre, Île aux Marins, and Miquelon-Langlade—comprises France’s last territorial possession in North America. Most of the population lives on the island of Saint Pierre in the town of the same name, which is the archipelago’s only real harbor. During the last two centuries, various issues have placed the inhabitants of Saint Pierre in opposing groups, but no question divided them so precisely along latent social and economic lines as did the choice required of them in 1940–1941. The nature of the Free French–Vichy confrontation touched Saint Pierre society at its most vulnerable point.

Students of France will find that the story of Saint Pierre is in many ways the story of twentieth-century France in microcosm. But this fascinating account also provides a case study in the ideological repercussions of social and economic change. Using a combination of anthropological fieldwork and historical research, William Christian examines the social ideas, social conflicts, and economy of the island from 1900 to the present. He shows that the Pétainist–Gaullist division was a culminating step in a trend that had been going on since the beginning of the century, the direct result of economic decline, rising aspirations, and the substitution of government welfare for a system of private aid and credit. The division is analyzed in terms of social structure in conjunction with essential differences in the world views of the two parties. The author illustrates the stages in the evolution of personal and group quarrels and develops the concept of an “information set,” a social unit defined by the communication and sharing of private information.

In the conclusion of this lively social history, Christian discusses the role of the idea of the “community as a family” and its decline in Saint Pierre during the last sixty years.

This study addresses the relation of people to divine beings in contemporary and historical communities, as exemplified in three strands. One is a long tradition of visions of mysterious wayfarers in rural Spain who bring otherworldly news and help, including recent examples. Another treats the seeming vivification of religious images—statues, paintings, engravings, and photographs apparently exuding blood, sweat and tears in Spanish homes and churches  in the early modern period and the revival of the phenomenon throughout Europe in the twentieth century.  Of special interest is the third strand of the book: the transposition of medieval and early modern representations of the relations between humans and the divine into the modern art of photography. Christian presents a pictorial examination of the phenomenon with a large number of religious images, commercial postcards and family photographs from the first half of past century Europe.

This book is an expanded, larger-format, and more highly illustrated version of a smaller book released by CEU Press in 2011. It presents and comments on an extensive set of religious and personal photographs and illustrations that depict people along with divine beings or absent loved ones. First, Christian examines the periodic appearances of Christ-like strangers in the Spanish countryside through the vision of a woman in La Mancha in 1931. Then he considers the long history of images with liquids on them not only for early modern Spain, but also in the United States, Italy and France in the 1940s and 1950s. The third and most extensive chapter addresses the iconography of illustrated depictions of divine and spirit beings in conjunction with humans and how its conventions were incorporated into commercial postcards and personal photographs, culminating in photo montages of families and their absent soldiers in World War I. The fourth theme is new to this edition. It compares the electric moments in Spanish communities when people ritually come into physical contact with saints and with animals, or transform themselves into saints or animals for ritual purposes. Over 50 of the color photographs by Spain's preeminent documentary photographer, Cristina García Rodero, are included.