How does an ethnographer write about violence? How can he make sense of violent acts, for himself and for his readers, without compromising its sheer excess and its meaning-defying core? How can he remain a scholarly observer when the country of his birth is engulfed by terror? These are some of the questions that engage Valentine Daniel in this exploration of life and death in contemporary Sri Lanka. In 1983 Daniel "walked into the ashes and mortal residue" of the violence (...) that had occurred in his homeland. His planned project--the study of women's folk songs as ethnohistory--was immediately displaced by the responsibility that he felt had been given to him, by surviving family members and friends of victims, to recount beyond Sri Lanka what he had seen and heard there. Trained to do fieldwork by staying in one place and educated to look for coherence and meaning in human behavior, what does an anthropologist do when he is forced by circumstances to keep moving, searching for reasons he never finds? How does he write an ethnography (or an anthropography, to use the author's term) without transforming it into a pornography of violence? In avoiding fattening the anthropography into prurience, how does he avoid flattening it with theory? The ways in which Daniel grapples with these questions, and their answers, instill this groundbreaking book with a rare sense of passion, purpose, and intellect. (shrink)

The postmodern opposition between theory and lived reality has led in part to an anthropological turn to "dialogic" or "reflexive" approaches. Michael Jackson claims these approaches are hardly radical as they still drift into such abstractions as "society" or "culture." His Minima Ethnographica proposes an existential anthropology that recognizes even abstract relationships as modalities of interpersonal life. Written in the style of Theodor Adorno's Minima Moralia, Jackson's work shows how general ideas are always anchored in particular social events and critical (...) concerns. Emphasizing the intersubjective encounter over objective descriptions of the whole historical and contemporary situation of a given people, he illustrates the power and originality of existential anthropology through a series of vignettes from his fieldwork in Sierra Leone and Australia. An award-winning poet, novelist, and anthropologist, Jackson offers a timely critique of conventions that dull our sense of the links between academic study and lived experience. (shrink)