I Swear I Saw This records visionary anthropologist Michael Taussig’s reflections on the fieldwork notebooks he kept through forty years of travels in Colombia. Taking as a starting point a drawing he made in Medellin in 2006—as well as its caption, “I swear I saw this”—Taussig considers the fieldwork notebook as a type of modernist literature and the place where writers and other creators first work out the imaginative logic of discovery. Notebooks mix the raw material of observation with reverie, juxtaposed, in Taussig’s case, with drawings, watercolors, and newspaper cuttings, which blend the inner and outer worlds in a fashion reminiscent of Brion Gysin and William Burroughs’s surreal cut-up technique. Focusing on the small details and observations that are lost when writers convert their notes into finished pieces, Taussig calls for new ways of seeing and using the notebook as form. Memory emerges as a central motif in I Swear I Saw This as he explores his penchant to inscribe new recollections in the margins or directly over the original entries days or weeks after an event. This palimpsest of afterthoughts leads to ruminations on Freud’s analysis of dreams, Proust’s thoughts on the involuntary workings of memory, and Benjamin’s theories of history—fieldwork, Taussig writes, provokes childhood memories with startling ease. I Swear I Saw This exhibits Taussig’s characteristic verve and intellectual audacity, here combined with a revelatory sense of intimacy. He writes, “drawing is thus a depicting, a hauling, an unraveling, and being impelled toward something or somebody.” Readers will exult in joining Taussig once again as he follows the threads of a tangled skein of inspired associations.

Anthropologists are increasingly pressurised to formulate field methods for teaching. Unlike many hypothesis-driven ethnographic texts, this book is designed with the specific needs of the anthropology student and field researcher in mind, with particular emphasis on the core anthropological method: long term participant observation. Anthropological Practice explores fieldwork experiences unique to anthropology, and provides the context by which to explain and develop practice-based and open-ended methodology. It draws on dialogues with over twenty established and younger anthropologists, whose fieldwork spans the late 1960s to the present day, taking place in locations as diverse as Europe, India, Malaysia, Indonesia, Africa, Iran, Afghanistan, North and South America.Revealing first-hand and hitherto unrecorded aspects of fieldwork, Anthropological Practice provides critical, systematic ways to enhance anthropological and alternative knowledge. It is an essential text for anthropology students and researchers, and for all disciplines concerned with ethnography.Interviewees include: Paul Clough, Roy Gigengack, Louise de la Gorgendière, Suzette Heald, Michael Herzfeld, Signe Howell, Felicia Hughes-Freeland, Ignacy Marek Kaminski, Margaret Kenna, Raquel Alonso Lopez, Malcolm Mcleod, Brian Morris, Hélène Neveu Kringelbach, Akira Okazaki, Joanna Overing, Jonathan Parry, Carol Silverman, Mohammad Talib, Nancy Lindisfarne-Tapper, Sue Wright, Helena Wulff, Joseba Zulaika.

This collection of original essays provides an innovative and multifaceted reflection on the impact and inspiration of the scholarship of eminent anthropologist Marilyn Strathern. A distinguished team of international contributors, all former students of Strathern, reflect on the impact of their relationship with their teacher and address the wider conceptual contribution of her work through their own writings. The essays provide an accessible entry into Strathern's scholarship for those new to her work and a rich source of material which mobilises and deploys her concepts, including new ethnographic examples and discussion of contemporary political issues, for those more familiar with her scholarship. The result is a collection that dissects, contextualises and reroutes concepts of relationality, inspiration and knowledge in novel and unpredictable ways. Recasting Anthropological Knowledge will prove invaluable to all students of anthropology and will be of interest to scholars across the social sciences.

Sir James G. Frazer's The Golden Bough, first published in 1890, was the first work in English to understand the religion of classical antiquity in the context of primitive religion. Its dramatic impact on the history of ideas lasted well into the twentieth century, in its association of religious myths with the more primitive forms of ritual and magic generated by the 'savage mind', identified as a common misunderstanding of the scientific laws governing the natural world. This highly acclaimed biography is a comprehensive study of Frazer's life, the influences on his work, and its wide-ranging implications for modern anthropology, classics, cultural history and folklore.

Layering climate science, mythologies, nature writing, and personal experiences, this New York Times Notable Book presents a stunning reckoning with our current moment and with the literal and figurative end of time. Desert Notebooks examines how the unprecedented pace of destruction to our environment and an increasingly unstable geopolitical landscape have led us to the brink of a calamity greater than any humankind has confronted before. As inhabitants of the Anthropocene, what might some of our own histories tell us about how to confront apocalypse? And how might the geologies and ecologies of desert spaces inform how we see and act toward time—the pasts we have erased and paved over, this anxious present, the future we have no choice but to build? Ehrenreich draws on the stark grandeur of the desert to ask how we might reckon with the uncertainty that surrounds us and fight off the crises that have already begun. In the canyons and oases of the Mojave and in Las Vegas’s neon apocalypse, Ehrenreich finds beauty, and even hope, surging up in the most unlikely places, from the most barren rocks, and the apparent emptiness of the sky. Desert Notebooks is a vital and necessary chronicle of our past and our present—unflinching, urgent—yet timeless and profound.

Non-knowledge should not be simply regarded as the opposite of knowledge, but as complementary to it: each derives its character and meaning from the other and from their interaction. Knowledge does not colonize the space of ignorance in the progressive march of science; rather, knowledge and ignorance are mutually shaped in social and political domains of partial, shifting, and temporal relationships. This volume’s ethnographic analyses provide a theoretical frame through which to consider the production and reproduction of ignorance, non-knowledge, and secrecy, as well as the wider implications these ideas have for anthropology and related disciplines in the social sciences and humanities.

Fieldworkers' notebooks are full of sensations and observations in which the subjectivity of the ethnographer seeps through. Not really science. Much closer to life. Yet in classical anthropology they are invisible to the reader. In this book the focus is reversed, turning Anthropology Inside Out as it explores the vibrant backstage life of field notes. What happens when we put them centre stage? Aimed at both curious novice and experienced practitioner, the chapters read as a catalogue of experimental practices teetering on the edge of the tradition: intuitively observational drawings; notes pervaded with paranoia; collective notetaking; crisis-ridden personal confessions; layers of notes in photographs and archives; old flip-flops that trigger memories in mind and body. This exploration of what field notes are, can do and could be, concludes with a constellation of shimmering notes on notes from Michael Taussig, a meta-commentary on anthropologists' fetishistic relationship with the most personal of professional tools. 'This extremely timely and original book starts a long overdue discussion within anthropology. The authors are to be commended for filling a gap in the methodology literature, which was so glaring until now as to be invisible to most of us.' Professor Thomas Hylland Eriksen, Department of Social Anthropology, University of Oslo 'The book is steeped in love for the materiality of the process of learning about life - inner life as well as the life out there. The chapters open up for reflections on the artistic and scientific aspects of the anthropological endeavour and become experimental in their expansion of the genre of anthropological work and thinking.' Professor Inger Sjørslev, Senior Lecturer Emeritus, Department of Anthropology, University of Copenhagen

Between 1906 and 1918, anthropologist and explorer Vilhjalmur Stefansson went on three long expeditions to the Alaskan and Canadian Arctic. He wrote voluminously about his travels and observations, as did others. Stefansson's fame was partly fueled by a series of controversies involving envious competitors in the race for public recognition. While many anthropological works refer to his writings and he continues to be cited in ethnographic and historical works on indigenous peoples of the North American Arctic, particularly the Inuit, his successes in exploration (the discovery and mapping of some of the last remaining land on earth) have overshadowed his anthropological work. Writing on Ice utilizes his extensive fieldwork diaries, now in Dartmouth's Special Collections, and contemporary photographs and sketches, some never before published, to bring to life the anthropology of the Arctic explorer. Gísli Pálsson situates the diaries in the context of that era's anthropological practice, early 20th-century expeditionary power relations, and the North American community surrounding Stefansson. He also examines the tension between the rhetoric of ethnography and exploration (the notion of the "friendly Arctic") and the reality of fieldwork and exploration, partly with reference to Stefansson's silence about his Inuit family.