Autoethnography as Pot Noodle

Trying to avoid writing autoethnography as the academic equivalent of a Pot Noodle.  I want something intellectually nutritious, filling and fulfilling.  

I am also mindful of the risks of autoethnography becoming part of a narcissistic navel-gazing ‘selfie’ culture, becoming ‘mesearch’ instead of research,   and self-aggrandizement.

Autoethnography as Pot Noodle


Why I write (Anais Nin)

I stumbled across this today, whilst reading Tristine Rainer’s ‘Your Life as Story’ (1998).  Nin wrote the Preface to Rainer’s classic ‘New Diary’ (1978).

Anais Nin writes …

Why one writes is a question I can never answer easily, having so often asked it of myself. I believe one writes because one has to create a world in which one can live. I could not live in any of the worlds offered to me – the world of my parents, the world of war, the world of politics. I had to create a world of my own, like a climate, a country, an atmosphere in which I could breathe, reign, and recreate myself when destroyed by living. That, I believe, is the reason for every work of art.

“We also write to heighten our own awareness of life. We write to lure and enchant and console others. We write to serenade our lovers. We write to taste life twice, in the moment and in retrospection. We write, like Proust, to render all of it eternal, and to persuade ourselves that it is eternal. We write to be able to transcend our life, to reach beyond it. We write to teach ourselves to speak with others, to record the journey into the labyrinth. We write to expand our world when we feel strangled, or constricted, or lonely … When I don’t write, feel my world shrinking. I feel I am in prison. I feel I lose my fire and my color. It should be a necessity, as the sea needs to heave, and I call it breathing.” –  (‘The New Woman’, 1974)