Category Archives: Writers’ Workshop

Can’t Get There from Here? Writing Place and Moving Narratives

[Savage Minds is pleased to run this essay by guest author Sarah Besky as part of our Writer’s Workshop Series. Sarah is Assistant Professor in the Department of Anthropology and the School of Natural Resources and Environment and a Postdoctoral Fellow in the Michigan Society of Fellows at the University of Michigan. Starting in Fall 2015, she will be Assistant Professor of Anthropology and International and Public Affairs at Brown University. Sarah specializes in the study of nature, capitalism, and labor in South Asia and the Himalayas. She is the author of The Darjeeling Distinction: Labor and Justice on Fair-Trade Tea Plantations in Darjeeling India (University of California Press, 2014) and other articles on social justice in agriculture and is currently working on a new book project on transparency, financialization, and tea auction reform in Northeast India.]

One of my favorite Saturday Night Live skits is a game show parody called “What’s the Best Way?” The premise is simple: a group of New Englanders jockey to give fast, accurate driving directions. Phil Hartman plays an old man with an airy Downeast Maine drawl; Adam Sandler an electrical contractor from Boston; and Glenn Close an upper-class Connecticut resident. The host, played by Kevin Nealon, asks questions about how to get from one place to another within New England. For example “Who’s got directions from Quincy, Maass to the Jahdan Mahsh department store in Bedford, New Hampshire?” Contestants buzz in, quiz show style, with their directions—directions which are loaded with quirky geographical references, including a “wicked huge Radio Shack” and a fahm that offers a chance to pick fresh Maine blueberries (“but only in the summah”).

I love this skit because it satirizes my own predilection as a native New Englander for giving overly detailed directions that orient the asker to the contours of the road, the colors and shapes of houses, and places that “yous-tah be there” (instead of supposedly conventional things like the number of traffic lights or street names).

But I also find this rather esoteric parody instructive for thinking about how to write place ethnographically. For many anthropologists, navigating fieldsites that are out-of-the way or otherwise marginalized, Phil Hartman’s character’s resigned answer to one directional challenge might ring a little true: Yah caahn’t get theyah from heeyah. Beyond writing about place, how can we use our writing to recall visual, material memories of getting from one place to another (or failing to do so)? Continue reading

Writing Archaeology “Alone,” or A Eulogy for a Co-Director

[Savage Minds is pleased to run this essay by guest author Jane Eva Baxter as part of our Writer’s Workshop series. Jane is a historical archaeologist and an Associate Professor of Anthropology at DePaul University in Chicago, IL USA. She is the author of numerous books and articles, including the forthcoming book Childhood and Adolescence in the American Experience (University Press of Florida 2016). You can follow her on twitter @janeevabaxter.]

For the past couple of years, I’ve been suffering from the condition we affectionately know as “writer’s block.” This has not been a generic or widespread condition as much of my writing is progressing as swiftly and smoothly as my job structure allows. This particular writer’s block has been confined to the writing associated with several years of archaeological work I conducted on the island of San Salvador in The Bahamas. The reason for this particular condition is easy to identify: my project co-director simply decided to stop writing.

My co-director and I began planning our research in 2002, and from 2004-2012 we conducted archaeological and historical work investigating transitions in the daily life of the island’s residents. During this time, we co-authored conference papers, site reports, proceedings volume papers, and articles for the Journal of the Bahamas Historical Society. We often co-authored work with our students. We developed curricular materials for the local school, co-authored a popular guide to the historic sites on the island for residents, tourists, and student groups, and created archaeology posters for a small, local museum.

And then, my project co-director stopped writing. At first, this decision to stop writing manifested itself as a waning interest in what had become a rather routinized and comfortable process of co-authorship. Writing plans were disregarded. Deadlines were missed without renegotiation. Discussions about writing ceased. Eventually, he announced he no longer had an interest in publishing scholarly articles, and told me to just go ahead and write everything up on my own. For many, being freed from the bonds of co-authorship might seem liberating, but to me it has been rather paralyzing. It also has given me cause to reflect on the production of archaeological knowledge, and left me to wonder exactly what it means to write without him. Continue reading

Slow Reading

[Savage Minds is pleased to run this essay by guest author Michael Lambek as part of our Writer’s Workshop series. Michael is Professor of Anthropology and Canada Research Chair at the University of Toronto Scarborough. His recent publications include “The Interpretation of Lives or Life as Interpretation: Cohabiting with Spirits in the Malagasy World” (American Ethnologist, 2014 41(3): 491-503) and A Companion to the Anthropology of Religion (edited with Janice Boddy, Wiley-Blackwell), out in paper in fall 2015. The Ethical Condition: Essays on Action, Person, and Value (University of Chicago Press) will also appear in the fall. For the University of Toronto Press, he edits the Anthropological Horizons series in ethnography.]

Instructors on the frontlines report that undergraduate grades are falling into a bimodal distribution rather than the comfortable old bell curve. The majority do poorly, it is said, because they do not know how to write. I suggest the source of the problem lies one step behind writing, in reading.

Writing presupposes reading. To write one has to know how to read and to write well one has to read well. Whether or not we write in order to be read, as Mary Murrell asked in her posting, at the minimum we are our own first readers. We read in order to own our writing, to confirm and assert it is ours, that it is what we want to say and the best way we know how to say it. Even before the copy edit and the proofing, we read what we write; reading is part of the very technique of writing. I am reading these lines as I write them. Continue reading

The Ecology of What We Write

[Savage Minds is pleased to publish this essay by Anand Pandian as part of our Writers’ Workshop series. Anand teaches anthropology at Johns Hopkins University. His books include Reel World: An Anthropology of Creation (Duke University Press and Penguin India, forthcoming this fall), and Ayya’s Accounts: A Ledger of Hope in Modern India (Indiana University Press, 2014), which he wrote with his grandfather.]

One day last summer, a caterpillar dropped from the rim of my desktop monitor. A peculiar little creature—no more than an inch long, clothed in a jacket of wispy white, a jaunty pair of lashes suspended well behind a tiny black head.

The visitation was unexpected. It’s not as though I work in a natural wonderland. The walls of this office are made of painted cinderblock. The window is fixed firmly in place, completely sealed from the outside. Peculiar odors sometimes drift from the vent above my desk, possibly from the labs upstairs.

The caterpillar seemed unhappy with the windowsill, where I placed it for a closer look. So I scooped up the errant traveler and stepped outside the building, wondering, for a moment, whether there was anything more palatable in the turfgrass. Then I went back to writing, back to whatever I could forage for my monitor that day. Continue reading

Why the Peer Review Process Works Even When It Doesn’t

[Savage Minds is pleased to publish this essay by Alan Kaiser as part of our Writers’ Workshop series. Alan is a Professor of Archaeology at the University of Evansville. He has published on issues of Roman culture in Spain, urbanism across the Roman empire, and streets as an organizing principle in Roman cities. He is the author of The Urban Dialogue: An Analysis of the Use of Space in the Roman City of Empúries, Spain (British Archaeological Reports, 2000), Roman Urban Street Networks (Routledge, 2009) and Archaeology, Sexism and Scandal: The Long-Suppressed Story of One Woman’s Discoveries and the Man Who Took Credit for Them (Rowman and Littlefield, 2014).]

Eleven editors and more than two dozen anonymous reviewers rejected my scholarly article. It documented the scandal I had uncovered that David Robinson, famed excavator of the Greek site of Olynthos, had plagiarized the work of his forgotten graduate student, Mary Ellingson. My article clearly made a number of people uncomfortable as there is an unspoken rule among American archaeologists working in Greece that it is bad form to criticize our intellectual ancestors in print. In the end I did get the story published as a book but that was only because I found an editor at Rowman and Littlefield who was a former student of mine and who was determined to help. This would seem to be a case study in the problems with the peer review system but that would be the wrong conclusion; this blog post seeks to prove that peer review works despite the flaws in the system.

Mary Ellingson #1
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How a Professional Writer Improved My Academic Writing

[Savage Minds  is pleased to publish this essay by Annie Claus as part of our Writers’ Workshop series. Annie  is assistant professor of anthropology at American University in Washington, D.C. specializing in the social ecology of marine and coastal environments and diverse environmentalisms. She has published work on the impacts of environmental policies on coastal communities, the political ecology of disasters, and conservation social science. Her most recent work analyzes the relationship of Okinawa to Japan through the lens of coral reef conservation.]

I weaseled my way into a writing class as I was finishing my dissertation. Others had advised against taking the course (“just finish your dissertation and worry about its readability later”). But I had been convinced that clear writing reflects clear thinking. If clear thinking emerges through writing with clarity, shouldn’t we all be required to take at least one class about the craft of writing before we inflict our thinking on others?

The professor had taught writing for years and was on the editorial board of The New York Times—a real professional! His (The Pro’s) over-enrolled class was pitched to future journalists but that seemed insignificant to me. I pleaded with The Pro for a spot:

“Anthropologists are also writers, without training or hope. Isn’t it important to make academia a better, more accessible place?”

I argued and implored and won. Continue reading

Finding My Muse While Mourning

[Savage Minds  is pleased to publish this essay by Chelsi West part of our Writers’ Workshop series. Chelsi is a PhD candidate at the University of Texas at Austin. She holds a BA from Millsaps College and an MA from UT. Her research in Albania was funded by J. William Fulbright program, the National Science Foundation, and the International Research and Exchanges Board. She is currently writing her dissertation, tentatively entitled, “Racial Entanglements: Charting Emerging and Shifting Categories of Identity and Belonging in Albania.”]

February is the worst month of the year. I keep repeating these lines in my head as I stare at the blank screen. I struggle to think of anything else to say. The beginning of this month is now becoming some sort of a routine.

My Dad taught me to write in the early morning hours. “When I was your age,” he used tell me, “I went to bed early so that I could wake up around 4 a.m. and do my homework when the house was quiet.” Around age 11 or 12 I began to emulate this practice, though I never quite got a handle on the waking up early part so instead, I just developed late-night writing habits. To this day I usually produce some of my best work between midnight and 5 a.m. When I think about it, my Dad helped me to craft much of my approach to writing. Continue reading

Read More, Write Less

[Savage Minds is pleased to publish this essay by Ruth Behar as part of our Writers’ Workshop series. Ruth is the Victor Haim Perera Collegiate Professor of Anthropology at the University of Michigan. She is the author of numerous articles and books including Translated Woman: Crossing the Border With Esperanza’s Story (Beacon Press, 1993), The Vulnerable Observer: Anthropology That Breaks Your Heart (Beacon Press, 1996), An Island Called Home: Returning to Jewish Cuba (Rutgers University Press, 2007), Traveling Heavy: A Memoir In Between Journeys (Duke University Press, 2013), and is co-editor with Deborah Gordon of Women Writing Culture (University of California Press, 1995).]

Rolando Estevez painting-Loynaz-Poema XV ala tensa

 

Years ago, when I started returning to Havana, the city where I was born, I had the good fortune to be welcomed into the home of Cuban poet, Dulce María Loynaz. By then she was in her nineties, frail as a sparrow, nearly blind, and at death’s doorstep, but enormously lucid.

Inspired by her meditative Poemas sin nombre (Poems With No Name), I had written a few poems of my own, and Dulce María had the largeness of heart to ask me to read them aloud to her in the grand salon of her dilapidated mansion. She nodded kindly after each poem and when I finished I thought to ask her, “What advice would you give a writer?” Continue reading

Why I like typewriters

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.

A vintage German business typewriter from the 1930s.
A vintage German business typewriter from the 1930s.

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.

Skywriters

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.

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Announcing the Spring 2015 Writers’ Workshop Series

What are you writing right now? Are you writing right now? An article, a paper, a book, a dissertation. A poem, a report, a proposal, an exam. A blog post. Who are you talking to about your writing? Who is reading your writing?

book shelf

 

One year ago, we launched the Writers’ Workshop series here on Savage Minds to provide a new space for reflecting on writing. We’ve now had two successful seasons with twenty-one anthropologists contributing: Continue reading

Ethnographers as Writers: Write First Drafts in One Go

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.

"How do I cut and paste on this thing?"
“How do I cut and paste on this thing?”

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.

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Ethnographers as Writers: Consider Endnotes

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.

Maybe in-text citations were also easier to include when folks used to write on typewriters.  Footnotes must have been a nightmare!
Maybe in-text citations were also easier to include when folks used to write on typewriters. Footnotes must have been a nightmare!

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.

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Ethnographers as Writers: Theory and Data – Part II

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!

Coding your fieldnotes the old fashioned way
Coding your fieldnotes the old fashioned way

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.

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Ethnographers as Writers: Theory and Data – Part I

There's nothing more intimidating than a blank page.
There’s nothing more intimidating than a blank page.

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.

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Ethnographers as Writers: Getting Started

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.

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