Fusion of the Worlds : An Ethnography of Possession Among the Songhay of Niger

"This ethnography is more like a film than a book, so well does Stoller evoke the color, sight, sounds, and movements of Songhay possession ceremonies."—__Choice__ "Stoller brilliantly recreates the reality of spirit presence; hosts are what they mediate, and spirits become flesh and blood in the 'fusion' with human existence. . . . An excellent demonstration of the benefits of a new genre of ethnographic writing. It expands our understanding of the harsh world of Songhay mediums and sorcerers."—Bruce Kapferer, __American Ethnologist__ "A vivid story that will appeal to a wide audience. . . . The voices of individual Songhay are evident and forceful throughout the story. . . . Like a painter, [Stoller] is concerned with the rich surface of things, with depicting images, evoking sensations, and enriching perceptions. . . . He has succeeded admirably." —Michael Lambek, __American Anthropologist__ "Events (ceremonies and life histories) are evoked in cinematic style. . . . [This book is] approachable and absorbing—it is well written, uncluttered by jargon and elegantly structured."—Richard Fardon, __Times Higher Education Supplement__ "Compelling, insightful, rich in ethnographic detail, and worthy of becoming a classic in the scholarship on Africa."—Aidan Southall, __African Studies Review__

"This ethnography is more like a film than a book, so well does Stoller evoke the color, sight, sounds, and movements of Songhay possession ceremonies."—Choice

"Stoller brilliantly recreates the reality of spirit presence; hosts are what they mediate, and spirits become flesh and blood in the 'fusion' with human existence. . . . An excellent demonstration of the benefits of a new genre of ethnographic writing. It expands our understanding of the harsh world of Songhay mediums and sorcerers."—Bruce Kapferer, American Ethnologist

"A vivid story that will appeal to a wide audience. . . . The voices of individual Songhay are evident and forceful throughout the story. . . . Like a painter, [Stoller] is concerned with the rich surface of things, with depicting images, evoking sensations, and enriching perceptions. . . . He has succeeded admirably." —Michael Lambek, American Anthropologist

"Events (ceremonies and life histories) are evoked in cinematic style. . . . [This book is] approachable and absorbing—it is well written, uncluttered by jargon and elegantly structured."—Richard Fardon, Times Higher Education Supplement

"Compelling, insightful, rich in ethnographic detail, and worthy of becoming a classic in the scholarship on Africa."—Aidan Southall, African Studies Review

Booknews

Stoller (anthropology, West Chester U.) lived amongst the Songhays intermittently for 18 years, he presents a vivid view of a possession cult from an insider's perspective as he recounts the many possession ceremonies he took part in during a drought in 1984. Annotation c. Book News, Inc., Portland, OR (booknews.com)

"This ethnography is more like a film than a book, so well does Stoller evoke the color, sight, sounds, and movements of Songhay possession ceremonies."— Choice "Stoller brilliantly recreates the reality of spirit presence; hosts are what they mediate, and spirits become flesh and blood in the 'fusion' with human existence. . . . An excellent demonstration of the benefits of a new genre of ethnographic writing. It expands our understanding of the harsh world of Songhay mediums and sorcerers."—Bruce Kapferer, American Ethnologist "A vivid story that will appeal to a wide audience. . . . The voices of individual Songhay are evident and forceful throughout the story. . . . Like a painter, [Stoller] is concerned with the rich surface of things, with depicting images, evoking sensations, and enriching perceptions. . . . He has succeeded admirably." —Michael Lambek, American Anthropologist "Events (ceremonies and life histories) are evoked in cinematic style. . . . [This book is] approachable and absorbing—it is well written, uncluttered by jargon and elegantly structured."—Richard Fardon, Times Higher Education Supplement "Compelling, insightful, rich in ethnographic detail, and worthy of becoming a classic in the scholarship on Africa."—Aidan Southall, African Studies Review The world reflected in post-modernist fiction is one of chance and randomness, devoid of historical intelligibility. Stacey Olster challenges this view by distinguishing American post-modernism--with respect to the views of historical processes that its practitioners share. Arguing that their experience of communism proved instrumental in shaping the historical perspective of novelists who began writing after World War II, Olster examines their change in perspective in the 1950s after historical events forced them to acknowledge the failure of the communist ideal in Russia. Focusing on Norman Mailer, Thomas Pynchon, John Barth, Robert Coover, and E.L. Doctorow, Olster portrays the idiosyncratic--but consistent--model of history that each began to construct in his work in order to preserve the illusion of an ordered sense of time. The author defines the qualities the writers share that form a common sensibility: a vision of historical movement taking the shape of an open-ended spiral, a refusal to accept the inevitability of apocalypse, and a conscious return to the traditions of earlier American authors An ethnography depicting Songhay possession ceremonies, and recreating the reality of spirit presences. In this book, the voices of individual Songhay are evident and forceful throughout the story. The author seeks to expand our understanding of the harsh world of Songhay mediums and sorcerers. Clack! A sharp sound shattered the hot, dry air above Tillaberi.