In this essay, I follow the migration journey of a young middle-class woman migrating from Serbia to Germany. I explore the existential condition of stuckness that she reports as a continuous impasse throughout various stages of her migration career. By focusing on her migration contradiction, I survey the intimate temporalities brought about by being stuck differently in changing contexts.
This is a contribution to the special section “100s for Katie,” which celebrates Kathleen Stewart's work. It reflects on the capacity of dreams to embody the affective stakes of ethnographic fieldwork.
This multisited flash ethnography recounts my encounters with a queer asylum seeker from El Salvador trying to move on from a tragedy amid family and legal issues and our observations of the encroaching humanitarian border industry throughout Mexico. It traces events across time and place that are inevitably scarred by the Mexico-US border, which displaces itself beyond territorial lines.
In 1951, Mexico's Instituto Nacional Indigenista (INI) established a coordinating center for a pilot development project in San Cristóbal de las Casas, Chiapas. INI administrators sought to draw Tzotzil- and Tzeltal-speaking indigenous communities that radiated around San Cristóbal into identification with the Mexican state and its political mythology of racial-cultural mixture, or mestizaje. To do so, the INI built roads. State investment in the transportation infrastructure of indigenous Chiapas enabled the geographical mobility of scores of U.S. anthropologists and students who used these roads to access “closed corporate communities” such as Zinacantán during the late-1950s and 1960s. Working from archived correspondence and field notes, this essay examines Harvard Chiapas Project founder Evon Vogt's early project interviews conducted on these roads in a Land Rover. Reading the Land Rover as a space-making technology of ethnographic rapport, I ask how such vehicles have structured ethnographic forms of intimacy and attachment and whether they render the interview space a site of capitalist capture. I ultimately refract a surfaced critique of the interview form's capitalist coloniality through a weak-theoretical evocation of the Land Rover's social, technological, and symbolic indeterminacy.
“A Writing Life” (Dillard 1989) is part of a special section of “hundreds” in honor of Kathleen Stewart. This “hundred” concerns the work of cultivating inspiration, openness, and observation.
This essay is part of a forum on Srila Roy's (2022) book, Changing the Subject. I suggest that Roy's book offers a way to sit with the paradoxes of feminist praxis by engaging with its everyday messiness and conflict. I read Roy's book through the lens of my research with sex worker activists in India, focusing on how Roy's attention to ambivalence helped me to rethink my analysis. Through ethnography, the book shows how her interlocutors strategize creatively under disempowering conditions, challenging narratives of loss and depoliticization in feminist movements. Finally, I reflect on questions the book raises about the practice of feminist research.
This is an afterword to a special section on flash ethnography reflecting on the filigree artistry of these short and intricate pieces that allow us as writers to be vulnerable and write in ways that are enlightening in unexpected ways.
This piece is part of a special section of hundreds for Kathleen Stewart. It upends genres, labels, and categories (beginning with Aristotle) using dyslexia and decoding to unfold boxes.
This article explores joy, identity, and belonging at the New Orleans Jazz and Heritage Festival through an ethnographic project inviting festgoers and staff members to draw, sketch, or map their experiences and journeys through festival landscapes. Building on scholarship in visual, humanistic, and post-humanist anthropology, we view map-making as an emergent strategy for performative epistemology, a way of making and thinking together. In a festival with a strong visual culture that centers African American music and cultural heritage, drawings often reflect racialized landscapes and subjectivities. Maps reveal the centrality of affect in festival experiences while affording insights into what makes joy complicated. For some, festival sociality brings those tensions to the fore while making it possible for others to imagine a world otherwise.
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