“There’s so much of everything! All of it inextricably tangled together […] To describe is to select – and to select only a microscopic sample from this overwhelming profusion.”
So wrote travel journalist Michael Frayan in Travels with a Typewriter, one of several books I read during my month-long research trip to East Africa. Frayan distills into two sentences the opportunity, challenges, and complexity of traveling to conduct research, particularly in a new field site.
As I mentioned in my previous update, this was my first trip to Africa. In addition to a mélange of language, landscapes, and villages/cities, the region struck me with its boggling biodiversity, and a host of socio-political situations that resist categorization or outsider resolution. I spent much of the trip mulling over my own reactions to what is ordinary life there, and pondering how to honestly incorporate it in my project without oversimplifying, romanticizing, or otherwise inadvertently appropriating.
This is my first trip to Kenya, and to Africa more generally. So far, it has been a fascinating blend of rural and urban, English and Swahili (and with it a reminder that learning a language isn’t a one-month project), and wildlife, plants, and landscapes utterly unlike anything I’ve ever seen.
I was recently interviewed for the Wyoming EPSCoR program’s blog.
In addition to a number of questions specific to the nature of sketching workshops I teach, Jess White from EPSCoR asked a thought-provoking question about how drawing contributes to my writing. It was a question I’d never consciously considered before, and I was delighted to be compelled to do so.
Little of that aspect of the interview made it into the final article, which is how interviews often go – there’s only room for so much, and no matter how interesting a tangent may be, it may not sync well with the dominant theme of the article.
So, here’s the “how sketching influences my writing” out-take.