I came across this Twitter thread from Professor Suma Ikeuchi of University of California, Santa Barbara. It answers a lot of my questions, and embodies my own personal views on the importance of good story-writing in ethnography. I'm embedding the thread here for my own personal reference:
Very insightful advice. One that I shall often go back to, I'm very sure.
Till the next.
-ccj, Duvanson, 6th June 2021, 5.54am
It took me just one day to finish this one. A lovely novel, I highly recommend it. Sharing below my review from GoodReads:
Big Fish by Daniel Wallace
My rating: 4 of 5 stars
I watched the Tim Burton's movie at home with my brother a long time ago, when I was still a college student. My brother got all moved because he said the movie reminded him of my father. Tall tales, endless daddy jokes, the absence, the infidelity, the difficulties to connect.
I don't remember the movie that much, and can't decide if it makes a big impression on me, but I do like this book. Reading it you'll realise that it's almost plotless, and apart from Edward Bloom, no one else in the story develop that much. But these are not the novel's strength. The magic, to me, lies in the writer's ability to lure readers into the wonders of the tall tales and the myths and the half-truths, and in the mental journey of deciding which stories to believe and which way they should be interpreted.
William, Edward Bloom's son, is telling a story about his dying father - reminiscing about his life from childhood to present, as it had been told to him, and as he remembers it. Edward wants to be a great man and thinks of himself as a great man. This is evident through the tall tales he told about himself, how "nobody doesn't love him" (David Wallace seems to be fond of double negatives like that), how even animals succumbed to his "fabled charm," how he had saved the lives of so many people (including a mythic creature such as a half-fish river lady), and by whom he was occasionally saved in return.
The whole novel is about the life of one man told in a series of parables and metaphors. If we can sift through the myths and fables, the emerging image is that of a man from a poor background who came from a small town where the dwellers are often stuck in a humdrum of a world without dreams and ambitions, but this man rebels and breaks away, pursues his dreams and makes a successful and decent life for himself. He marries a girl he likes and who likes him (though not without a fight), is blessed with a son whom he dotes on. He becomes wealthy, and very busy. He's on the move all the time - because of his business, and also because he's having an affair with a young lady somewhere. He returns home when the young lady breaks off with him, and stays home for a long time after being diagnosed with a terminal disease that eventually leads to the end of his mythical "immortality."
Because these stories are told from the perspective of William the son, we can catch a glimpse of how this son perceives his father. He clearly adores his father. He looks up to him. He thinks he's strong and handsome. He used to love his jokes and stories, but over time he becomes tired of them, especially when he realises that his dad is using the jokes and stories to evade serious conversations. He wishes for more chance to get to know his father, to create a closer bond with him. He's mad about him being absent all the time.
Despite his anger and frustrations, William still clearly loves his father so much. He's careful about how he wants to tell the story of his father's death. oscillating between the desire to express his frustrations and to preserve his father's image of himself as a "great man." William has to tell the death-bed story in four "takes", each reflecting in gradually exaggerated and more dramatic manner the reality of his relationship with Edward. But the one he finally settles on is the one which ends with his father not dying, just transforming into the "big fish in a big pond" he always aspires to be.
I'm still not certain if I can relate the character of Edward Bloom to my father just like my brother has been able to, but I can sure see myself in Edward Bloom. In fact, if we want to be brutally honest, I think Edward Bloom represents all of us. Edward wants to be a great man - don't we all? And I'm not just referring to the desires to be successful, or to make a name for ourselves. I guess everyone wants to be remembered in a certain way when one dies and leaves the world. Everyone wants to have a legacy. Everyone wants to do something good that people can remember forever. We all want our stories to live on beyond our lives on earth.
At the end of the day, it matters not if Edward Bloom is indeed a big fish in a big pond. All that matter is that he at least is, in the eyes of his son.
View all my reviews
On to the next book. Take care!
-ccj, Duvanson, 4th June 2021, 7.25am
Just finished reading this book yesterday, and I'm very happy. Sharing here my review from GoodReads:
The Elements of Eloquence by Mark Forsyth
My rating: 5 of 5 stars
This is an entertaining little book filled with wisdom and amusing facts on rhetorical figures. Anyone who loves the English language, or the beauty of languages and beautiful writing for that matter, will definitely enjoy this little gem. It has 39 chapters, each dedicated to explaining a particular figure of rhetoric in the most illuminating and delightful manner. Reading it gives me the chance to revise more familiar rhetorical figures like alliteration, antithesis, assonance, anaphora, metonymy and synecdoche, personification, and hyperbole; but also less familiar ones (at least to me) like polyptoton, hyperbaton, hendiadys, catachresis, epizeuxis, zeugma, and scesis onomaton.
To explain each rhetorical figure, Mark Forsyth draws examples from great writers, poets, playwrights, pop artists, rock and roll singers, movie actors and actresses, politicians, philosophers, and God (I mean the Bible). His writing is fun and engaging; it's hard for me to put the book down. The book claims to offer "tricks to make the most humdrum sentiments seem poetic or wise" (from the blurb on the back cover), and it doesn't disappoint. The blurb also says that the book will show how I can do the same - Forsyth concurs in the introduction part of the book thought-provokingly titled 'On Cooking Blindfolded': "Shakespeare got better because he learnt. Now some people will tell you that great writing cannot be learnt. Such people should be hit repeatedly on the nose until they promise not to talk nonsense any more" (p. 2).
I'm still not better at writing after finishing the book, but I'll definitely never going to read any written sentence in any language in the same way ever again. This is a book that I would want to go back to often - to refer to, to learn from, to contemplate. I think if all writing teachers can just make the teaching of rhetorical elements as entertaining, anyone who wants to write beautifully can learn how to do so, if they want to. At the very least, understanding of rhetorical figures can certainly afford humans the chance to discover a more in-depth appreciation for literature and beautiful writings.
In the penultimate section of the book, the 'Peroration', Forsyth reveals his hope for the book: to dispel "the bleak and imbecilic idea that the aim of writing is to express yourself clearly in plain, simple English using as few words as possible" (p. 201). And he goes on to say, "To write for mere utility is as foolish as to dress for mere utility" (ibid). (Can I show this to my academic journal editors? :P )
Without figures of rhetoric, "we would merely be us: eating, sleeping, manufacturing, and dying. With them everything can be glorious. For though we have nothing to say, we can at least say it well" (p. 202).
I think that aptly recapitulates what The Elements of Eloquence is all about.
View all my reviews
That's all for today. Till the next post!
-ccj, Duvanson, 3rd June 2021, 9.23am
Hello, I'm Cynthia. Welcome to my blog! More info in the About tab.