Deadline extended "Ethnographic Fieldwork Notes and Ethnofiction - Pakistan and Afghanistan"

Ana Tomás's picture
Call for Publications
April 30, 2018
Subject Fields: 
South Asian History / Studies, Anthropology, Asian History / Studies

In a time where the regions of Pakistan and Afghanistan make the highlights, it is worth wiping the dust off from the fieldwork notes concerning the recent anthropological research on the region. We thought, therefore, it would be pertinent to edit a book on ethnographic fieldwork notes—not avoiding literary creativity—regarding Pakistan and Afghanistan, since publications on the subject are inexistent (exception goes to, for instance, Benedicte Grima’s book, Secrets from the Field: An Ethnographer's Notes from Northwest Pakistan, 2004; the edited volume Fieldwork in South Asia: Memories, Moments, and Experiences, 2014). Furthermore, we would like to extend this invitation to historians and anyone who has conducted research on Pakistan (and/or Afghanistan).

The compendium of writings is intended to shed light on texts in which creativity is only limited to the verisimilitude of what they observed, and the accuracy of memories and/or notes/files.

It is not an exaggeration to argue that after fieldwork, there is so much left unsaid. Much of which is abandoned in diaries, or bubbling in our memories, often unexplored. Sometimes, precisely, from this disquiet state between what we observe, reflect and analyze, but, finally, we did not incorporate, the outcome is represented by unpublished essays that consubstantiate desires to travel other less academic paths. Such efforts are often showcased in a more poetic and/or literary, engaged, political, unrealistic, and futuristic (encompassing dreams and desires not meant to materialize) styles not destined to land on the pages intended for academia; not limited by academic constraints, and yet somewhat complying to the reliability demanded by ethnography.

Examples of these attempts to look and write about the fieldwork experience—avoiding classicisms and academic codes—are not unusual. Here we could recall texts such as Le circle de feux by Jacques Lizot, Enigma Variations by Richard and Sally Price, and The Vulnerable Observer: Anthropology That Breaks Your Heart, by Ruth Behar. Or the exceptional work of ethnofiction by Marc Augé, No Fixed Abode. Not to mention the thousands of texts emerging on the Internet, in places like Zero Anthropology or Sapiens. We could point out a variety of other examples; however, we believe that the diversity of the above statements will suffice to assert what we are looking for: texts in which creativity only has, as limit, the verisimilitude between what has been observed, and the accuracy of memories and/or fieldwork notes/archives.

In other words, texts in which anthropology, fiction, essay, and philosophy are not mutually avoided—we reinforce, always keeping close relation with fieldwork diaries and/or memories of the fieldwork. Yet, they do not have to be "ethnofiction" (term, unfairly, almost only applied to the ethnographic documentary), but they can be. They do not necessarily have to be direct transcripts of the fieldwork diaries, but they can be. They do not essentially have to be reflective rehearsals about "homecoming," "abandoning the fieldwork," "returning to the fieldwork," but they can be. They do not have to be related to times of tension, conflict or suffering, but they can be. Nonetheless, they have to be about what has always been kept "in the drawer", accompanying the anthropologist, and sometimes almost confessional.

The texts must respect the following bibliographic standards:

  • A minimum of footnotes (which, in any case, will be converted into endnotes),
  • A minimum of quotes and bibliographic references as well (whenever justified, to be integrated into the main corpus of the texts).
  • Texts must not exceed 20 pages (approx. 8,000 words).

The deadline date for submission is 30th April 2018.

Please submit your article as Word Document attached to an email, to:

Dr. Paulo Mendes (CRIA):

Ana Tomás (EHESS, CEIAS):














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