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The question of style, voice and perspective

For a long time, I’ve been certain in which style and voice I wanted to write my thesis. I did not want it to be too academic this time, but rather write in a more prose-like style, trying to convey the feeling and experience of “being there” through a more personal style, and with a slightly stronger personal presence in the texts. Instead of arguing left and right with every thinkable theory and ethnography – in the text proper and/or in hundreds of footnotes – like I tried to excel in my previous thesis, this time I rather wanted my argument to mainly rely on my own ethnographic descriptions.
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There were at least two reasons why I thought like that: My previous thesis became too dense and instead of having a good narrative flow I find it rather academically cumbersome and awkward. The second reason is related to the change of perspective that step by step occurred to me as necessary during my time in the field. First, after experiencing major riots and massive demonstrations and a very complex French social and political reality, I realised that an equal comparison between France and Britain (based on philosophies of social integration and postcoloniality) would not be feasible in one single PhD project. Instead, I relegated the comparison from starting point to the backdrop of the study, thus also to only one single, last chapter. To carry such a philosophical and political comparison through throughout a whole thesis would, I presume, have demanded a very different style of writing than how I could express myself in a monograph on a single society.

The second change of perspective imposed itself when I entered deeper and deeper into the Parisian slam poetry universe. People started to comment that I was present everywhere and that my archive of videos and information must be huge and that I should definitely do something about it. I started feeling that getting such a privileged access into what seemed to be a very interesting phenomenon in itself, demanded a reformulation of my focus of study. The slam needed at least as much emphasis as the postcolonial and politico-sociological part. I started toying with the idea of writing an accessible book on the slam poetry within French society parallel to an academic thesis, but quickly realised that such a double task was way beyond my capacity, particularly since doing a PhD also demands a lot of teaching and other kinds of work. (And to write such a book after handing in the thesis several years after finishing a field study on such a current phenomenon was not an option). My next thought was to write an accessible thesis focusing (almost) equally on the slam and the society.

But now, I’m about to change my mind again. Maybe such a thesis will be neither fish nor bird (as the Norwegian proverb goes). Probably it will be too academic for people interested in French slam poetry, but not as distinguished within anthropology as I would have wished it to be. Apparently, many anthropologists and their like prefer hardcore and stringent theoretical and disciplinary discussions, and not page up and down of impressionistic prose, however theoretically but tacitly informed. Maybe I should write the prose as well as I can, but also try my best to excel in the theory bit? And then afterwards try to get a Post.doc. and rewrite it as an accessible book on French society seen through the prism of the slam poetry scene…?

For a long time, I’ve been certain in which style and voice I wanted to write my thesis. I did not want it to be too academic this time, but rather write in a more prose-like style, trying to convey…

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Time catching up with me (not yet visa versa)

The writing of my thesis has moved into a new phase. Today is the first day that I spend at home of my six month’s leave. I’m supposed to change focus from what has occupied my mind more or less full time since I left for Paris late September 2005. So far on this day of leave, I’ve read some chapters in the excellent classic neighbourhood study Street Corner Society – from an Italian area in Chicago in 1937-9, sorted some baby clothes (thinking what a strange world of circuits of baby stuff that exists out there; we’ve been included in five different ones going exclusively through the female line, partly through kin but mainly through friends – should check with Argonauts of the Western Pacific to what extent it could be compared to the Kula circuits… ;-) ) and I’ve had a quick visit from a friend of mine also on maternity leave. When she left, I felt overwhelmed by spare time, thinking immediately what kind of work I could do.

Then I realised that I could for the first time sit down at the table with my MacBook, in my new living room, with a new view, and have time to do just this. I wanted to reflect a little on what has happened in the writing process since the last time I reported from it here on my blog-diary. But when I turn on the stereo to put on a cd fit for writing, a well-known voice from the excellent music program Jungeltelegrafen, says: “…from the man who hates the notion World Music more than anybody else… Nitin Sawhney!”. (How I enjoy having one of the great participants in my previous thesis described like that!) But how am I supposed to take a break from work when work just turns up everywhere!? Nitin Sawhney contributed extensively to my Master thesis with his musical eclecticism and profound and interesting thoughts on British society. Now he has come with a new cd which musically treats what has happened to London after 7/7 2005:

… On 7.7.2005 a bomb exploded on a London bus. A singer and friend of mine, Natty, was there. Two weeks later he was present at the shooting of a Brazilian man – Jean Charles de Menezes. Last year we wrote a song together. Natty, like myself, feels something indefinable has shifted. London’s has changed. … (Nitin Sawhney 2008 London Undersound).

The CD starts quietly with “Days of fire”, Natty rapping the lyrics, and Sawhney playing the guitar and piano and doing the programming. (Hear the song on youtube with a slideshow from the events in London here)

On these streets where I played
And theses trains that I take, I saw fire
But now I’ve seen the city change in –
Oh so many ways, since the days of fire
Since the days of fire
(Nitin Sawhney & Natty 2008, “Days of fire” on London Undersound)

So far in my listening, I’ve found several tracks I really appreciate. A review of the cd can be found in The Observer here.

Strangely – or maybe not; maybe the world is just that small – one of the first people I got to know in Paris told me unpromptedly how he had taken his father to a concert with Nitin Sawhney. He appreciated to hear that Sawnhey had participated in my previous study, and now he’d help me out in the present one.

Being on leave has so far been difficult, but I’m sure it will be far easier to put work behind me next week when things start to get serious.

The writing of my thesis has moved into a new phase. Today is the first day that I spend at home of my six month’s leave. I’m supposed to change focus from what has occupied my mind more or less…

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Ouch!

Ouch! High summer is long gone! Clearly, it’s autumn out there: The air is brisk, the sun is lower in the horizon and red, orange and yellow have started to invade the greenery. Not only do I not particularly like autumn (however nice the weather might be, it never escapes melancholic undertones), but also do I not like to get surprised by how fast time passes. And high summer is ages ago!

Ouch! High summer is long gone! Clearly, it’s autumn out there: The air is brisk, the sun is lower in the horizon and red, orange and yellow have started to invade the greenery. Not only do I not particularly like…

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High summer

It’s high summer and hot, and I don’t feel like doing what I’m supposed to do (I’m supposed to write a book review on Being a Hindu in Oslo.) High summer makes me melancholic. At least in one area of life I see the glass as half empty, and that’s when it comes to summers. The Norwegian summers are so short, that for half-empty-glass persons like myself, it’s only really May and the beginning of June one can enjoy fully without a bittersweet aftertaste of “soon it’s over…”. July in Norway is the time for 3-4 weeks of general holiday, and Norwegian workplaces, public offices and roads and streets (where there aren’t tourists) are as empty as they are in August in Paris or Athens.

The idea and implementation of paid holidays are at least as old in Norway as it is in France. However, I didn’t hear and care about the struggle for paid holidays before I lived in France in 2006 during the 70th anniversary for the left wing coalition Le Front Populaire. They lasted for only one year, and I think – as with many things in France – their symbolic importance outclass their actual political relevance. The film La vie est à nous (The life is ours, or The people of France) by Jean Rénoir from 1936 documents the life under The Popular Front, and the photographer Willy Ronis documented the first paid vacations, together with other famous photographers. I can’t think of any social democratic reform which is really celebrated here in Norway. And it’s not until confronted with the surprise of non-European visitors I find it strange that the country slows down and the functions close off to a minimum during July. Of course, it’s the general holidays!

(I’m hooked on the page-turning writing of Balzac at the moment – perhaps another reason why my book review isn’t progressing as fast as it should – and from his description of political and social divisions and hierarchies in early 19th century France, I get a clearer understanding of why social reforms have become such potent political symbols.)

It’s already the end of July, and in mid August already the summer is waning up here in the North. I’ve never mind going to school and I even love my job, but the end of summer has always been such a melancholic period that I’ve already started giving it an occasional sad thought. Why can’t July have at least 8 weekends? Well, it’s time to go back to the book review and get done with it. Afterwards, I’ll let myself start contemplating on the epistemological reasons behind why my fieldwork in Paris has started to get a rosy shade after having been left mostly in peace in notebooks and videos for a year.

to Burma Shave by Tom Waits (whom the new opera house said no thanks to this July!!!) – no much to do with this post, everything to do with summer moods

It’s high summer and hot, and I don’t feel like doing what I’m supposed to do (I’m supposed to write a book review on Being a Hindu in Oslo.) High summer makes me melancholic. At least in one area of…

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One year ago today…


Leaving Paris by train

Today, it is one year since I packed my bags and left the field. I left a little earlier than planned because the field exhausted me and I wanted some calm. The last ten days I had lived in an hotel, because the letting contract had run out and I was not in the mood, nor had the energy, nor the extravertness to ask any of my acquaintances for a place to stay. After sleeping 6 months on the world’s hardest futon four floors above the madness of Rue du Faubourg du Temple, the crammed hotel room with thin walls and slamming doors almost felt like a relief. Instead, I think it was the nature of the fieldwork itself that exhausted me.

In London, I lived in a great flat share (in such a lovely British terraced house with blackbirds, squirrels and cats in the greenery outside my window), where I could withdraw from the maelstrom of the field for some hours or a day or two, with people to share my frustrations and find inspiration. In Paris, I had nothing but aloneness – and probably quite a lot of loneliness – when I refuged from the field. In addition, the field itself was several levels more advanced than what I had sharpened my anthropological tools on in London.

My command of French limited, but had I not chosen to study a group of people whose force was their command of language, game of words and poetry? In London, practically all my “informants” were my peers, in terms of level of education and to some extent social background, and they were no more than ten years older or younger than me. In Paris, the majority hadn’t even finished 12 years of schooling and only a handful had been to university. Instead, many had been through a whole different school of life than I could imagine. In terms of age, they ranged from 20 years younger to 35 years older. Moreover, while my focus of study had been of great interest to the people concerned in London, I never really felt that that was the case in Paris. Perhaps it was the language that made me qua researcher far more interesting to spend time with in England than in France, perhaps it was the subjects of concern, or perhaps it was just the French tradition of liaisons that rarely let me qua femme (et blonde et exotique en plus) retreat in favour of the researcher and even friend. I wouldn’t say that this fieldwork demanded black belt in professional and language skills and social sagacity, but it demanded enough to make me so exhausted in the end that I voluntarily left Paris more than two weeks before schedule. But it was really an awful summer anyway. And besides, I had important business to sort out at home.

After an autumn of absence, the field started coming back to me. When I hurried through my old neighbourhood in East Paris for a quick coffee by Canal Saint Martin on my way back from Corsica to Oslo in the spring, I realised how much I missed the atmosphere. What atmosphere? I can’t say for the moment, but that particular feel the streets of North East Paris instigate is something I grapple with in my writing at the moment. The sheer diversity of human beings and activities everywhere at all times, the history, beauty and grandeur emanating from the buildings and boulevards, the touch of anarchy and creativity in the street art and street life… I don’t know, but there is a difference. It was very hard to live it, but I really miss it. Now, for the time being, I’ll have to make do with trying to describe it.

Leaving Paris by train

Today, it is one year since I packed my bags and left the field. I left a little earlier than planned because the field exhausted me and I wanted some calm. The last ten days I had…

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