This is my last post as a guest blogger for Savage Minds. I have enjoyed this experience of connecting with so many anthropologists. I want to thank the Savage Minds team for giving me this opportunity to discuss ethnographic writing, and to everyone who offered their thoughts and comments on my posts. Since this is my final contribution, I thought I would end on a personal note and share a short homage to typewriters.
As you may have noticed, many images of old typewriters accompanied my posts on writing this month. These photos are not culled from the Internet, but are pictures of my own growing collection of European manual typewriters, which I now use to write my fieldnotes and my first drafts. I am not a luddite, nor am I paranoid about the NSA reading my fieldnotes. And although I am old enough to have written many early college papers on a typewriter, my trusty Smith Corona was an electric model. I switched to a basic word processor, and eventually to a personal computer as soon as I could afford one. Writing on a manual typewriter is a newly acquired preference.
Over twenty years after I retired my electric Smith Corona, my partner surprised me with a vintage Skywriter as a birthday present. The Skywriter hails from the 1950s and was Smith Corona’s attempt at a portable machine that itinerant writers could use on airplanes. Last spring, I began writing research notes, letters, and first drafts of my work on that typewriter, mostly because I loved the clack of the keys, and the fact that email, social media, and the lures of the World Wide Web couldn’t distract me while I worked.
The results of yesterday’s Greek elections, which the radical left coalition, SYRIZA, won in an historic landslide, reminded me of a humble pharmacist named Dimitris Christoulas. What follows is an excerpt from an essay I wrote in his honor back in 2012.
I hope his spirit rests a little better today.
It was a Wednesday when I read about the suicide. At 8:45 am on the morning of April 4 2012, 77-year-old Dimitris Christoulas killed himself amidst a rush of morning commuters near a metro station in front of the Greek Parliament. I choked on tears when I finished the article.
I was probably surfing the Internet, perendinating as usual. I’d just returned from a research trip to Bulgaria, and had been unceremoniously rocket launched into the second half of my spring semester. On top of writing lectures, teaching, grading, and supervising my students, I had four composition books full of hand-written fieldnotes that needed to be transcribed. But I was restless and feeling depressed about the world of academic knowledge production.
Probably my existential mood made the news of the suicide afflict me so deeply. Mr. Christoulas had leaned his head against a cypress tree. It meant he considered the logistics before he pulled the trigger. He knew that his head might jerk away from the force of the bullet. The cypress tree provided the answer. I imagined him with one temple pressed against the bark and the other temple pressed beneath the barrel of the handgun. I could see his body crumpling to the ground in Syntagma Square, the blood from his head soaking into the spring grass still wet with the fresh morning dew. It would be Orthodox Easter soon. Despite the divine reference in his surname, there would be no resurrection for Mr. Christoulas.
Many doctoral students fail to earn their PhDs because they never finish their dissertations. They complete their coursework, pass their qualifying exams, and do all of their research, but writing the thesis proves an insurmountable barrier. Why does the dissertation present such a challenge? Because students can’t push past the first chapter. Too many dissertators start with their introduction and find that they have nothing to say. Or they realize they have no idea what they are trying to introduce.
In Anne Lamott’s brilliant book, Bird by Bird: Some Instructions on Writing and Life, the author advises all would be writers to embrace what she calls the “sh*tty first draft” (SFD). Decide what you’re going to write, and then write it straight through without stopping. If you need an article, spend some time thinking of an abstract that captures the essence of your argument and the data you have to substantiate it. You can take a few days to put together a really good abstract. Once you have it, use it as you introductory paragraph and start writing.
Keep putting words on the page until you reach what you think will be the end. Never go back and read what you have already written. This may seem difficult, but you can learn to let your thoughts flow. If you find yourself stuck at a section or in need of a particular fact or reference not at hand, leave placeholders in your text. Phrases like “insert quote here” or “discuss relevant studies here” litter my first drafts. If I need to stop working for the day, I always type the letters “XXX” in my electronic document. When I come back to the file, I open the document and search for the “XXX,” thus bypassing the text I’ve previously written.
Movie trailers have been around for decades, and part of the fun of going to the cinema was always the sneak peaks of upcoming movies. With the proliferation of digital software like iMovie, and the ease of uploading just about anything to YouTube, the trailer has migrated from the world of movies over to the book industry. Trade presses regularly create book trailers to promote their new releases even while some authors bemoan the fact that they must now push their written texts using visual media. In her 2013 New Yorker article, “The Awkward Art of Book Trailers,” Rachel Arons recognizes that although book trailers “are often dismal,” there exist instances of genuine creativity.
Most students and scholars learn the disciplinary conventions regarding citation and never think about them again. But citation practices vary widely both between and within disciplines, and once you’re past the dissertation, you have far more flexibility in choosing your own citation style than you think. To be sure, academic journals have their own house styles for articles. The 2009 style guide for all journals of the American Anthropological Association states: “All references must be cited in author-date form; all author-date citations must be referenced,” and the guide provides detailed instructions for how to use the author-date format for e-mails, websites, brochures, and other eclectic materials.
But where did these conventions originate and how did they come to anthropology? The standard of in-text author-date citation derives from something called the “Harvard style,” which originated in the field of zoology. In 1881, the zoologist Edward Laurens Mark published an important paper on the garden slug wherein he included the first parenthetical author-date citation. This system spread out from zoology to other natural sciences where the author’s name and the date of the publication are the two most important pieces of information. Prior to Mark’s invention of the author-date referencing system, footnotes were sprinkled randomly throughout the text and signaled by asterisks and other printer’s marks. The author-date system streamlined citations and favored brevity and clarity.
So I’m staring at some fieldnotes and trying to sort out the best way to blend my theoretical analysis with my ethnographic data. Where to start? How to find the right balance? Once again, I decided to contact fellow ethnographers to gather insights about their writing processes. Sociologist Olga Shevchenko also struggles with what parts of her fieldnotes to include:
I almost never know in advance which parts of the field notes will go into the text, because it takes me some time, and a lot of writing, to figure out what it is exactly that I am going to argue! With interviews, it’s different. There are some turns of phrase that seem to leap off the page, and these are usually those that capture experience in a fresh or complex way. I also tend to notice when a turn of phase, or a metaphor emerges more than once. When I heard a third person compare their everyday life with living on a volcano, I knew it was going to be in the book in a major way. But it also got me thinking about what this metaphor accomplished, which sent me right back to the field notes. When I can’t find a place in the text for an evocative image or turn of phrase that I hear from a respondent, this causes me great torments!
Like Olga, I now spend a lot of time reading my fieldnotes and deciding what material I want to include before I figure out my core argument, a process sometimes called “grounded theory,” a way of incorporating theoretical insights that emerge organically from the fieldwork. I also search for great quotes or turns of phrase that capture something about the everyday experience of my informants.
Every ethnographer must find a balance between theory and data. Our fieldwork and our specific case studies render our work original, but this work fails to be scholarly if it lacks dialogue with larger theoretical concerns. When writing the dissertation the literature review section remains de rigueur, but most acquisitions editors demand that this section be exorcised from the eventual book manuscript. This means that the theoretical insights inspired by your participant observation must somehow be woven into the final text so as to elucidate your original ideas without burying the reader under an avalanche of information about what other scholars, studying other cases, have said before you.
The task of integrating theory proves difficult for even the most experienced ethnographers, and different scholars maintain varying opinions on its importance. In a 1999 article, anthropologist Ruth Behar argues that theory for theory’s sake undermines the potential vibrancy of ethnographic writing:
What I do find tiresome is the habit of using whatever theory happens to be fashionable…as a substitute for really engaging the tough questions posed by those whom we encounter on our journeys as ethnographers. When ethnographers working in far corners of the globe are all citing the same two pages from the work of the latest trendy theorist, without reflecting on the politics of how that theory travels, you can be sure they have killed the life in their ethnography.
Every article, book, or thesis begins with a first word, but getting started feels overwhelming. My worst prose derives from disorganized thinking and writing, and over the years I’ve experimented with different systems to help me get my projects off the ground. When I map out some incremental steps, my projects seem more manageable.
First I ask myself: what do I want (or need) to write? This helps determine the best format for my research results. In some cases the format was predetermined for me – when I was a doctoral student I had to produce a dissertation of a certain minimum length. When I write for a journal, they enforce specific word counts. These days, I have a bit more freedom, but I still struggle to determine if I have a book length argument or if my research is best presented as a series of articles.
Before I write the first sentence, I try to visualize the contours of my project. I once typed up outlines, but now I imagine less formal ways to physically manifest a project. At the outset, I spend hours examining my research, beginning to define the distinct sections or chapters. I need a concrete guide that will help me tackle the writing tasks necessary to get from the first to the last word of the project.
Serendipity confounds me. I spent most of Monday writing the following reflections on the death of a Bulgarian woman, one of my “key informants,” who unexpectedly passed away two weeks ago while I was in Sofia. You can imagine my surprise when I logged on to Savage Minds this morning to post my short tribute to Ana. I encountered Ruth Behar’s beautiful piece on the passing of Esperanza, her comadre in Mexico and the inspiration for Translated Woman. Behar’s essay moved me to tears, and my own purple prose pales in comparison to her poetic rumination on the way an ethnographer’s life can become intertwined with those whose stories we have the privilege to tell. Journalists would say that I’d “been scooped,” since this post evokes many of the same issues and emotions as Behar’s and she is by far the more accomplished writer and anthropologist. But for Ana’s sake, I’ll post this humble essay anyway. The fleeting immortality of the written word is the only gift we ethnographers have to give.
Getting to know people across the barriers of language, culture, and generations provides one of the greatest joys of ethnographic fieldwork. I dislike the term “informant” because of its negative connotations, especially in the postsocialist context where people once “informed” on each other to the secret police. I prefer the term “fieldwork friends.”
I’ve conducted ethnographic research in Southeastern Europe for eighteen years, and I recognize the difficult power imbalances and the hierarchy of privileges that underpin relationships in the field. My position as an American – first as graduate student, then as professor – provides certain advantages that my fieldwork friends lack. Despite these challenges, I’ve forged close relations with many Bulgarian men and women who’ve shared their lives with me over the years.
Academics are collectively responsible for the production of some of the most obtuse and impenetrable prose in the English language. Rhetorical fashions come and go, but the penchant for opacity has become a defining feature of contemporary scholarship.
We were sitting over the remains of dinner in a Village restaurant when the conversation turned to gender and women’s studies.
“I am an –ism person,” Temma Kaplan, Rutgers historian said to me. “I don’t do –ity.”
I gave her a knowing look.
“It used to be all –isms. Now everything is –ities,” she said.
“But you can’t get a job in women’s studies without working on an –ity.” I said, “–ities are the thing these days.”
She sighed and shrugged.
Academese is the secret code that some scholars use to signal that they are members of the club. It ensures that no one can really tell whether their ideas are brilliant, bad, or merely mediocre. This is especially useful when submitting an application to a multidisciplinary search or review committee. Since academics are so narrowly specialized these days, there are probably only a handful of people in the world who can judge whether a project is truly groundbreaking.
Learning to write like an academic is difficult. If you don’t want to rely solely on the University of Chicago’s academic sentence generator, you too can learn the subtle art of writing impenetrable prose. It takes time and practice, and not an insubstantial amount of creativity, to produce appropriately complex neologisms for otherwise basic concepts.
I am thrilled for the opportunity to write as a Savage Minds guest blogger for this first month of 2015. One of my New Year’s resolutions is to become a better writer, and I’ve spent a lot of time over the last few months poring through style guides and manuals trying to learn the writer’s craft. This is not because I am writing my first book. Unfortunately, I am almost five books into my career, and only now do I feel compelled to improve my prose. As an ethnographer, I privileged the message over the medium.
I’ve taught ethnographies for thirteen years, and at the end of each semester, I survey student opinions of the required books on my syllabi. “Reading [this book] was like being forced to read Facebook’s terms and conditions for class,” a student wrote about one of the texts I assigned. The book in question suited the course subject, and contained field-changing theoretical insights. As a piece of scholarship, the book excelled, winning a major award from a large professional society. As a piece of writing, however, the book failed. My students judged the prose opaque, circular, jargon-laden, and gratuitously verbose. I agreed. I prepared a lecture on the core arguments, and spared my students the headaches induced by needless erudition.
University students, especially at the undergraduate level, despise inaccessible books that use language to obfuscate rather than clarify. I have purged many a smart ethnography from my syllabi after watching students struggle to extract the main arguments from a fog of impenetrable prose. Each year, I explore university press offerings to find well-written ethnographies. The continued production of un-teachable books amazes me.
As c.10,000 anthropologists descend upon Washington, D.C. this week for the annual American Anthropological Association conference, my colleague Jonathan Marion (University of Arkansas) and I, alongside an international cadre of researchers, have joined a long-standing conversation about the relationship between digital cultures, visual media and ethics that will fully manifest on Saturday, but that exists online in multiple forms too (more below). That conversation is a complicated one, known to induce frustration, confusion, feelings of helplessness, despondency and, at times, defiance among those who engage in it. By this I refer to the business of negotiating (1) the ethical implications of our own research programmes, (2) the experience of formal ethical review, and (3) ethical issues borne out of the everyday actions of our communities of study. Such ‘business’ is seemingly made even more complicated when digital and visual media are brought into the fold.
Indeed, more than ten years ago Gross, Katz and Ruby published Image Ethics in the Digital Age, a pioneering volume whose topical concerns – privacy, authenticity, control, access and exposure – are arguably more conspicuous now than in 2003. Today, their complexities appear to be extending as digital interactions themselves extend, and the consequence is an inevitably fraught landscape of practice with debatable outcomes.
Savage Minds welcomes guest blogger Elizabeth Angell.
Yesterday an Italian appeals court reversed the convictions of all but one of seven scientists and experts charged with involuntary manslaughter for failing to provide adequate warning before the 2009 L’Aquila earthquake. (The conviction of Bernardo De Bernardinis, former deputy head of Italy’s Civil Protection Department, was partially upheld, but his sentence was reduced to two years instead of six.1) As an anthropologist studying disaster and risk, I’m doubly interested in the L’Aquila story, both as an example of the search for accountability in the aftermath of disaster, and for what it tells us about the ways knowledge, particularly knowledge about risk, circulates between expert communities of scientists and officials and broader publics.
Colleen Morgan and I are wrapping up the first chapter of MAD-P (Media Archaeology Drive Project), an experiment in extending archaeological method into the systematised analysis of media objects. This project began as a provocation — intended to prompt reflection (both within and beyond the discipline) on the place of archaeology in the wider media and cultural studies landscape. That provocation has exposed, we think, an obvious gap between what we do as anthropologists and what we could do, and the space that archaeology might occupy in variously exploring the past, exposing the present and anticipating or shaping the future. Our modest excavation of an abandoned hard drive hints at what happens when the taken-for-granted aspects of media products are subject to step-by-step archaeological recording. Such an investigative process draws your eye immediately to both the material and the discursive, to the layered nature of each, and to the impossibly entangled and slippery interconnections amongst them. The individual material constituents of the artifact, their assemblage, the labour behind their composition, and their various manifestations in both computer code and in complex virtual spaces are made obvious. Indeed, as discussed below, the entire concept of an artifact is destablised in such work. From our perspective, the productivity of such a project should not be underestimated in terms of its potential both to critique the past and to speculate about possible futures.
To facilitate MAD-P as a whole, Colleen prepared context sheets, using as a model those employed at the Neolithic site of Çatalhöyük. We recorded by hand and photographed or screenshot all elements of our process. We also kept an associated set of notes — perhaps the equivalent of a field diary, but logged electronically and as a combined output, weaving together observations that we’d made in dialogue with one another. Following the excavation, Colleen set about writing our archive report, a structured review of our field site, findings and interpretations, which we present here.
For the past two weeks, Colleen Morgan and I have been outlining the background to an actual “media archaeology” project wherein we extend the intellectual and methodological toolkit of archaeology into the study of media objects (especially, digital media objects). The impetus for this project is outlined here, and the theoretical context here. Having set up the framework, we delve now into our actual research programme, which we affectionately refer to as MAD-P: the Media Archaeology Drive Project.
As our aim here is to model good practice, and to benefit from the collective intelligence of Savage Minds, we present below the project research design for constructive critique. In brief, we’ve excavated a found hard drive, and while in the next post we’ll document for you our process, our written and photographic records (stay tuned for a Harris Matrix), and our interpretative outputs, here we detail the nature of our field site and field method, ethical engagement with our excavation, and sustainability/access to our data.
Colleen is the principle author of this research design, and it’s important for me to say that I’ve learned much through my collaboration with her. As someone who has spent the past 10 years outside of the excavation trench, it was very meaningful for me to jump back in—using single context recording no less!—with Colleen as my guide. Here is the project whose results you’ll see reported over the next week on Savage Minds… Continue reading →