(Savage Minds is pleased to run this essay by guest author Michael Ralph as part of our Writers’ Workshop series. Michael is Assistant Professor of Social and Cultural Analysis, and Director of the Metropolitan Studies Program at NYU. He is the author of the entries on Commodity, Diaspora, and Hip hop in Social Text 100, and of the forthcoming University of Chicago Press book Forensics of Capital based on his research in Senegal.)
The idea of having your own writing style is an illusion. In fact, we learn to write by digesting the writers we love. We obsess over the elegant turns of phrase they appear to deliver effortlessly, and pore over our own drafts hoping to wrench beauty from passages that have been pummeled by angst and uncertainty. If we manage to enjoy success in writing (or really, in editing), it is generally because we have been well trained. At some point, someone made it her mission to instill in us a sense of conviction about the words we wield. We learned to appreciate the magic of authorship. But, it is easier to trace the blessed path to writerly righteousness in retrospect. Learning to write (which means learning to think and plan more carefully) can be a curious kind of training, in part because we don’t always know when it is happening. In reflecting upon my own training, I decided to dedicate this column to the person who initiated me into the anthropological guild, Michel-Rolph Trouillot. Continue reading
(Savage Minds is pleased to run this essay by guest blogger Zoë Crossland as part of our Writers’ Workshop series. Zoë is Associate Professor of Anthropology at Columbia University. She works in highland Madagascar and writes on semiotics, and archaeologies of death and the body. Her most recent publication is Ancestral Encounters in Highland Madagascar: Material Signs and Traces of the Dead ( Cambridge University Press, 2014).)
Like fiction, archaeology allows us to visit other worlds and to come back home again. So, it can be a useful exercise to juxtapose archaeological texts with historical novels, poems and other forms of writing. Just as a novelist does, a writer of archaeology has to attend carefully to the conventions that shape the stories we tell. The written past demands some kind of narrative coherence, a consistency in our compositional form, and in the internal logic of the world we bring into being. Like poets, we have to choose our words carefully. In this comparison we can identify the shared techniques used to evoke other worlds and to draw in the reader. We can also consider the narrative possibilities that are excluded from our archaeological writing, and ask what opportunities might be opened up by allowing different forms of voice and language. Continue reading
(Savage Minds is pleased to run this essay by guest author Bianca C. Williams as part of our Writers’ Workshop series. Bianca is Assistant Professor of Ethnic Studies at the University of Colorado, and holds a PhD in anthropology from Duke University. She is the author, with Tami Navarro and Attiya Ahmad, of the article “Sitting at the Kitchen Table: Fieldnotes from Women of Color in Anthropology,” and of the forthcoming Duke University Press book Exporting Happiness in which she examines how African American women use international travel and the Internet as tools for pursuing leisure, creating intimate relationships and friendships, and critiquing American racism, sexism, and ageism.)
“Above all else, guard your heart, for everything you do flows from it.” Proverbs 4:23
Like many others, the blank page can terrify me. Simply starting a new blog post, an essay, or a book chapter can have me tumbling into hours, days, or shame-filled weeks of procrastination. These are the times that resistance and fear triumph, and I feel myself falling into a moody mixture of anger, frustration, sadness, and general feelings of incompetence. Oh, and sometimes there is crying. However, once I find successful methods for dragging the words that are in my head onto the page, I then attempt to organize them in a way that makes sense, creates “new” knowledge, and contributes to multiple fields, ever aware that in some near future a committee will attempt to quantify my publication impact and decide whether they should grant me tenure. Surprisingly, for the past three weeks Writing and I have engaged in a truce—or I should say, she has decided to get off my back, give me some room to breathe, and allow the words that infiltrate my dreams and my meditation sessions to flow a bit easier onto the page. What is interesting is that this period of writing peace has resulted in a new issue: I keep getting my best writing ideas while I’m in the shower. Continue reading
(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
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