What is your process? How to get your creative juices flowing…and keep them flowing? This week’s Writers’ Workshop guest author Kristen Ghodsee gave us a sneak peek into her writing process in My Ten Steps for Writing a Book, confiding that she had not even been fully aware of it until she sat down to consciously think it out. After six weeks of purposeful writing as part of this writing group, what new practices have you added to your process? What is helping you get where you want to be in the writing?
Four more weeks to go, so this might also be a good time to not only check-in on last week, but also assess your goals for the remainder of the writing group, and also tune in on Monday for our next Writers’ Workshop post, this time from Zoe Crossland, professor of archaeology at Columbia University.
Finally, if you missed it, there is still time to add strength to your writing support network—create an Anthropology Zombie Apocalypse Team! I made mine yesterday and got Sam Beckett, Kurt Vonnegut, and Franz Boas. This week I’m going to see if I can’t channel some Kurt Vonnegut in my writing. This could be interesting….
(Savage Minds is pleased to run this essay by guest author Kristen Ghodsee. Kristen is Director and the John S. Osterweis Professor of Gender and Women’s Studies at Bowdoin College. Her prize-winning books include: The Red Riviera: Gender, Tourism and Postsocialism on the Black Sea (Duke University Press, 2005), Muslim Lives in Eastern Europe: Gender, Ethnicity and the Transformation of Islam in Postsocialist Bulgaria (Princeton University Press 2010), Lost in Transition: Ethnographies of Everyday Life After Communism (Duke University Press, 2011), and Professor Mommy: Finding Work/Family Balance in Academia (Rowman & Littlefield, 2011). Her fifth book, The Left Side of History, is forthcoming with Duke University Press in 2015. She blogs about ethnographic writing at Literary Ethnography.)
When Carole McGranahan asked me to blog for the Savage Minds writing group, I wasn’t sure what I was going to write about. I’d recently finished my fifth book, and was in the early stages of a sixth manuscript, so it seemed like I should have something to say about how to get a big project done.
But I never realized I had a process until this morning. To get the creative juices flowing, I sketched out a flow chart of how I tackle a project from start to finish. The chart surprised me. My quirks and old habits turned out to be a defined system, one that I have implemented for each of my books without even knowing it.
(Savage Minds is pleased to run this essay by guest blogger Sienna R. Craig as part of our Writers’ Workshop series. Sienna is Associate Professor of Anthropology at Dartmouth College. In addition to her 2012 book Healing Elements: Efficacy and the Social Ecologies of Tibetan Medicine, she is also author of the lush ethnographic memoir Horses Like Lightning: A Story of Passage Through the Himalayas.)
The idea of a decision is a decision.
We build arguments around impermanence
But are not the sort of people to admit
—Tsering Wangmo Dhompa, from In the Absent Everyday
I have been thinking a lot about the idea of the “unreliable narrator” these days, and what it might mean for us ethnographers, careful raconteurs of others’ stories, intertwined as they are with our own. The idea of the unreliable narrator emerges in literature, theatre, and film as a tool of craft that plays with senses of credibility or believability, sometimes to trick the reader or the audience, other times to push the boundaries of a genre or challenge the cognitive strategies a reader might employ to make sense of the story she is being told. Although unreliable narrators may materialize through a third person frame, they are most commonly first person renderings. In the most facile sense, an unreliable narrator is biased, makes mistakes, lacks self-awareness, tells lies not of substance but of form. The device can also be used in a revelatory vein: to twist an expected ending, to demand that readers reconsider a point of view, to leave an audience wondering. Like our anthropological propensity to classify, literary theorists have done the same for the interlocutors of our imaginations. Types of unreliable narrators include the Madman, the Clown, and the Naif, to name a few. Others posit that the unreliable narrator as a device is best understood to fall along a spectrum of fallibility, beginning with the contours of trust and ending with specters of capriciousness (Olson 2003). This is the shape of a character as she defies the expectations of a reader, who then may well pass judgment on this scripted self. Continue reading
Week 3? How is that already possible? We have somehow collectively arrived at week three of our ten week writing group. One-third of the way through! We kicked off this week with writing insights from Kirin Narayan (“Ethnographic Writing with Kirin Narayan: An Interview”). Much of what she had to said coursed through my writing mind this week: on trying to merge what you have to write with what you want to write; on the theoretical and ethical importance of portraying people in their complexity; and her answer in its entirety to my question “Why ethnography?” She replied:
For the discipline of paying attention; for learning from others; for becoming more responsibly aware of inequalities; for better understanding the social forces causing suffering and how people might somehow yet find hope; and most generally, for being perpetually pulled beyond the limits of one’s own taken-for-granted world.
Amen. Continue reading
(Savage Minds is pleased to run this interview with Kirin Narayan as part of our Writers’ Workshop series. Kirin is currently professor in the School of Culture, History and Language at Australian National University, after a distinguished career in the Department of Anthropology at the University of Wisconsin. She is the author of numerous books and articles, written across all possible ethnographic genres, including the monograph Storytellers, Saints, and Scoundrels: Folk Narrative in Hindu Religious Teaching, folklore such as Mondays on the Dark Night of the Moon: Himalayan Foothill Folktales, the novel Love, Stars, and All That, her memoir My Family and Other Saints, and the writing guide Alive in the Writing: Crafting Ethnography in the Company of Chekhov.)
This past month, I interviewed Kirin Narayan over email, she in Australia and India, and me in the USA. Inspired not only by her writings, but also by an ethnographic writing workshop she led for faculty and students at the University of Colorado a couple years back, I wanted to share her insights and inspiration with Savage Minds readers and participants in our ongoing writing group. Below is our exchange. Enjoy, learn, write!
- CM: One of the things so unique about your writing are the many genres and forms you write across: academic prose, fiction, memoir, creative non-fiction, writing about writing, storytelling, editing, books, articles, and so on. What has your writing path in anthropology been like? How much have you purposefully shaped what and how you wrote versus how much have embraced what invitations and opportunities have serendipitously come your way?
Here we are again: Friday! How was your week? Did you sink into a good groove, or did you more write-in-place as is sometimes the case? My writing this week was helped by Gina Athena Ulysse’s post Writing Anthropology and Such, or “Once More, with Feeling.” She gave us so much to think with as well as to feel and to allow without apology. Writing from the gut? Check. Writing without permission from others? Check. Writing with an awareness of the constraints of position and category? Check. Writing anyway? Check!
And she gave us this gem: “Decades ago, I realized that I am not a linear writer, but more of a quilt maker. I am content when I produce chunks. I have also learned to not berate myself if I can’t come up with anything. There are works by certain poets and art books near my desk (or in the moveable studio bag), which I need and reach for when words are not whirling out of my head as I face the screen. As long as I am present in the space and in conversation with artists or even in silence, I now consider myself writing.” Continue reading
(Savage Minds is pleased to run this guest column from Gina Athena Ulysse as the launch post of our new Writers’ Workshop series. Gina is an associate professor of anthropology at Wesleyan University. Born in Haiti, she has lived in the United States for the last thirty years. She is also a poet, performance artist and multi-media artist. Prof U, as her students call her, is the author of Downtown Ladies: Informal Commercial Importers, A Haitian Anthropologist and Self-Making in Jamaica (Chicago 2008). She recently completed Why Haiti Needs New Narratives, a collection of post-quake dispatches, essays and meditations written between 2010-2012. Currently, she is developing, VooDooDoll, What if Haiti Were a Woman, a performance-installation project. Most recently, her writing has been published in Gastronomica, Souls, and Transition.)
When I write, there’s a slight lag- a
-whatever- space-between when words strung together into phrases or sentences are transmitted onto the page with fingers trained as intermediaries. A right hand injury made me identify this pause as I became more conscious of various aspects and levels in my writing. Not being able to type gave me a new relationship to interludes in my process. Continue reading
Anthropologists have always been writers. But we have not always paid attention to writing as craft or as practice, rather than as vehicle for communicating knowledge. While historically some anthropologists wrote well or across genres—Zora Neale Hurston, Ella Cara Deloria, Laura Bohannan, and Clifford Geertz immediately come to mind—the 1980s literary turn in anthropology brought us new collective energy and interest in not just writing, but in writing well.
Writing takes time. Writing well takes time and practice. Continue reading
It’s time to get writing. We invite any and all anthropologists working on any sort of writing project to join the new Savage Minds Writing Group. Starting Monday, January 20, the group will run for ten weeks, concluding on Friday, March 28. The objective of the group is to provide a community of support and accountability to help members achieve their weekly writing goals. Writing group participants will check in online here every Friday to report their weekly writing progress. Writing can be such a solo endeavor, so here’s to forging some collective energy and inspiration!
Toward the goal of inspiration, the writing group will be paired with a series of Writers’ Workshop blog posts every Monday. Our schedule of fantastic guest authors is: Continue reading