Clyde Reed is an economic historian at Simon Fraser University in British Columbia and lives in Vancouver. Until recently, his main research interest has been Medieval European Economic History. Publications in this area include the following:
- Bekar, Cliff T. and Clyde G. Reed (2013), 'Land markets and inequality: Evidence from medieval England', European Review of Economic History 17(3), August, 294-317; doi.org/10.1093/ereh/het009.
- Reed, Clyde G. and Cliff T. Bekar (2003), 'Religious prohibitions against usury', Explorations in Economic History 40(4), October, 347-368.
- Bekar, Cliff T. and Clyde G. Reed (2003), 'Open fields, risk, and land divisibility', Explorations in Economic History 40(3), July, 308-325.
- Reed, Clyde G. and Anne-Marie Drosso (1997), 'Labour services in the thirteenth century', Journal of European Economic History 26, 333-346.
- Clegg, Nancy W. and Clyde G. Reed (1994), 'The economic decline of the Church in Medieval England', Explorations in Economic History 31(2), April, 261-280.
Working jointly with Greg Dow, Clyde’s most recent research focus has been economic prehistory. Publications include research on technological innovation in the Upper Paleolithic, the origins of sedentism, the origins of agriculture and institutional issues involving early warfare, inequality and city-states. While at the IAS, Clyde and Greg will be writing a book on Economic Prehistory, which will blend archaeological evidence with economic theory.
Clyde was a visiting scholar in the Department of Economics at Harvard University in the fall of 2018.
In addition to academic pursuits, Clyde is a musician (double bass) who has performed at International Jazz Festivals in North America and Europe including the Vancouver Jazz Festival, the Toronto Jazz Festival, the Chicago Jazz Festival, the Berlin Jazz Festival and the Lisbon Jazz Festival. Clyde’s only academic publication related to music, 'Free improvisation as a path dependent process' (joint with Jared Burrows) was recently published in George E. Lewis and Benjamin Piekut, eds., Oxford Handbook of Critical Improvisation Studies, Volume 1, Oxford University Press, 2016, 396-418.