This book emerges from the author's 35 years of research and thought about the Songhay people of Niger. This ethnographic novel follows the life of Omar Dia, the oldest son of a West African sorcerer. When his father falls ill and dies, the great sorcerer vomits a small metal chain onto his chest. Following the path of his ancestors, Omar swallows the chain, becoming his father's successor, which means that he takes on the sorcerer's burden. The book also describes how custodians of traditional knowledge are creatively adapting to the forces of globalization-all in a highly accessible narrative text.

A study of the West African Hauka - spirits that grotesquely mimic and mock "Europeans" of the colonial epoch. The author considers spirit possession as a set of embodied practices with serious social and cultural consequences.

This book emerges from the author's 35 years of research and thought about the Songhay people of Niger. This ethnographic novel follows the life of Omar Dia, the oldest son of a West African sorcerer. When his father falls ill and dies, the great sorcerer vomits a small metal chain onto his chest. Following the path of his ancestors, Omar swallows the chain, becoming his father's successor, which means that he takes on the sorcerer's burden. The book also describes how custodians of traditional knowledge are creatively adapting to the forces of globalization-all in a highly accessible narrative text.

After more than fifty years as the model of perfect health, anthropologist Paul Stoller suddenly finds himself diagnosed with lymphoma. The only thing more transformative than his fear and dread of cancer is the place it ultimately takes him--twenty-five years back in time to his days as an apprentice to a West African sorcerer.
Stranger in the Village of the Sick follows Stoller down this unexpected path toward personal discovery, growth, and healing. Drawing upon an ancient esoteric tradition, he explores the symbiotic relationship between illness and health, the differences in how disease is culturally perceived, and the stunning capacity of the human spirit to convert adversity into strength and transform knowledge into wisdom.

The most prolific ethnographic filmmaker in the world, a pioneer of cinema verite and one of the earliest ethnographers of African societies, Jean Rouch (1917-) remains a controversial and often misunderstood figure in histories of anthropology and film. By examining Rouch's neglected ethnographic writings, Paul Stoller seeks to clarify the filmmaker's true place in anthropology.
A brief account of Rouch's background, revealing the ethnographic foundations and intellectual assumptions underlying his fieldwork among the Songhay of Niger in the 1940s and 1950s, sets the stage for his emergence as a cinematic griot, a peripatetic bard who "recites" the story of a people through provocative imagery. Against this backdrop, Stoller considers Rouch's writings on Songhay history, myth, magic and possession, migration, and social change. By analyzing in depth some of Rouch's most important films and assessing Rouch's ethnography in terms of his own expertise in Songhay culture, Stoller demonstrates the inner connection between these two modes of representation.
Stoller, who has done more fieldwork among the Songhay than anyone other than Rouch himself, here gives the first full account of Rouch the griot, whose own story scintillates with important implications for anthropology, ethnography, African studies, and film.

Wisdom From the Edge describes what anthropologists can do to contribute to the social and cultural changes that shape a social future of wellbeing and viability. Paul Stoller shows how anthropologists can develop sensuously described ethnographic narratives to communicate powerfully their insights to a wide range of audiences. These insights are filled with wisdom about how respect for nature is central to the future of humankind. Stoller demonstrates how the ethnographic evocation of space and place, the honing of dialogue, and the crafting of character depict the drama of social life, and borrows techniques from film, poetry, and fiction to expand the appeal of anthropological knowledge and heighten its ability to connect the public to the idiosyncrasies of people and locale. Ultimately, Wisdom from the Edge underscores the importance of recognizing and applying indigenous wisdom to the social problems that threaten the future.

Among the Songhay of Mali and Niger, who consider the stomach the seat of personality, learning is understood not in terms of mental activity but in bodily terms. Songhay bards study history by "eating the words of the ancestors," and sorcerers learn their art by ingesting particular substances, by testing their flesh with knives, by mastering pain and illness. In "Sensuous Scholarship" Paul Stoller challenges contemporary social theorists and cultural critics who--using the notion of embodiment to critique Eurocentric and phallocentric predispositions in scholarly thought--consider the body primarily as a text that can be read and analyzed. Stoller argues that this attitude is in itself Eurocentric and is particularly inappropriate for anthropologists, who often work in societies in which the notion of text, and textual interpretation, is foreign. Throughout "Sensuous Scholarship" Stoller argues for the importance of understanding the "sensuous epistemologies" of many non-Western societies so that we can better understand the societies themselves and what their epistemologies have to teach us about human experience in general. Paul Stoller is Professor of Anthroopology at West Chester University and the author of "The Taste of Ethnographic Things: The Senses in Anthropology," also available from the University of Pennsylvania Press.

"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"

Wisdom From the Edge describes what anthropologists can do to contribute to the social and cultural changes that shape a social future of wellbeing and viability. Paul Stoller shows how anthropologists can develop sensuously described ethnographic narratives to communicate powerfully their insights to a wide range of audiences. These insights are filled with wisdom about how respect for nature is central to the future of humankind. Stoller demonstrates how the ethnographic evocation of space and place, the honing of dialogue, and the crafting of character depict the drama of social life, and borrows techniques from film, poetry, and fiction to expand the appeal of anthropological knowledge and heighten its ability to connect the public to the idiosyncrasies of people and locale. Ultimately, Wisdom from the Edge underscores the importance of recognizing and applying indigenous wisdom to the social problems that threaten the future.

Anthropologists who have lost their senses write ethnographies that are often disconnected from the worlds they seek to portray. For most anthropologists, Stoller contends, tasteless theories are more important than the savory sauces of ethnographic life. That they have lost the smells, sounds, and tastes of the places they study is unfortunate for them, for their subjects, and for the discipline itself. The Taste of Ethnographic Things describes how, through long-term participation in the lives of the Songhay of Niger, Stoller eventually came to his senses. Taken together, the separate chapters speak to two important and integrated issues. The first is methodological—all the chapters demonstrate the rewards of long-term study of a culture. The second issue is how he became truer to the Songhay through increased sensual awareness.

In February 1999 the tragic New York City police shooting of Amadou Diallo, an unarmed street vendor from Guinea, brought into focus the existence of West African merchants in urban America. In "Money Has No Smell," Paul Stoller offers us a more complete portrait of the complex lives of West African immigrants like Diallo, a portrait based on years of research Stoller conducted on the streets of New York City during the 1990s.
Blending fascinating ethnographic description with incisive social analysis, Stoller shows how these savvy West African entrepreneurs have built cohesive and effective multinational trading networks, in part through selling a simulated Africa to African Americans. These and other networks set up by the traders, along with their faith as devout Muslims, help them cope with the formidable state regulations and personal challenges they face in America. As Stoller demonstrates, the stories of these West African traders illustrate and illuminate ongoing debates about globalization, the informal economy, and the changing nature of American communities.

It is the anthropologist's fate to always be between things: countries, languages, cultures, even realities. But rather than lament this, anthropologist Paul Stoller here celebrates the creative power of the between, showing how it can transform us, changing our conceptions of who we are, what we know, and how we live in the world.
Beginning with his early days with the Peace Corps in Africa and culminating with a recent bout with cancer, "The Power of the Between" is an evocative account of the circuitous path Stoller's life has taken, offering a fascinating depiction of how a career is shaped over decades of reading and research. Stoller imparts his accumulated wisdom not through grandiose pronouncements but by drawing on his gift for storytelling. Tales of his apprenticeship to a sorcerer in Niger, his studies with Claude Levi-Strauss in Paris, and his friendships with West African street vendors in New York City accompany philosophical reflections on love, memory, power, courage, health, and illness.
Graced with Stoller's trademark humor and narrative elegance, "The Power of the Between" is both the story of a distinguished career and a profound meditation on coming to terms with the impermanence of all things.

Issa Boureima is a young, hip African street vendor who sells knock-off designer bags and hats in an open-air market on 125th street in Harlem. His goal is to become a "Jaguar"--a West African term for a keen entrepreneur able to spot trends and turn a profit in any marketplace. This dynamic world, largely invisible to mainstream culture, is the backdrop of this timely novel.
Faced with economic hardship in Africa, Issa has left his home in Niger and his new wife, Khadija, to seek his fortune in America. Devout Muslims, the couple has entered into a "modern" marriage: Khadija is permitted to run her own business, and Issa has agreed not to take additional wives. Issa quickly adapts to his new surroundings, however, and soon attracts several girlfriends. Aided by a network of immigrants, he easily slips through gaps in the "system" and extends his stay in America indefinitely. Following a circuit of African-American cultural festivals across America, he marvels at African-Americans' attitudes toward Africa, and wonders if he'll ever return to Niger. Meanwhile, Khadija also struggles to make it--to become a "Jaguar"--as she combats loneliness, hostile in-laws, and a traditional, male-dominated society. The eventual success of her dry goods shop and her growing affection for a helpful Arab merchant make her wonder if she'll ever join Issa in America.
Drawing on his own decades of experience among Africans both in Niger and in New York, Paul Stoller offers enormous insight into the complexities of contemporary Africa. Alive with detail, "Jaguar" is a story of triumph and disappointment, of dislocation and longing, and of life lived in a world that no longer recognizes boundaries.

Paul Stoller has been writing a popular blog for the Huffington Post since 2011. Blogging, says Stoller, allows him to bring an anthropological perspective to contemporary debates, but it also makes him a better writer: snappier, more concise, and more focused on the connection he wants to make with readers. In this collection of selected blog posts, Stoller models good writing while sharing his insights on politics (including the emergence of "Trumpism" and the impact of ignorance on US political practices), higher education, social science, media, and well-being. In the process, he discusses the changing nature of scholarly communication and the academy's need for greater public engagement.

The tale of Paul Stoller's sojourn among sorcerors in the Republic of Niger is a story of growth and change, of mutual respect and understanding that will challenge all who read it to plunge deeply into an alien world.

The most prolific ethnographic filmmaker in the world, a pioneer of cinema verite and one of the earliest ethnographers of African societies, Jean Rouch (1917-) remains a controversial and often misunderstood figure in histories of anthropology and film. By examining Rouch's neglected ethnographic writings, Paul Stoller seeks to clarify the filmmaker's true place in anthropology.
A brief account of Rouch's background, revealing the ethnographic foundations and intellectual assumptions underlying his fieldwork among the Songhay of Niger in the 1940s and 1950s, sets the stage for his emergence as a cinematic griot, a peripatetic bard who "recites" the story of a people through provocative imagery. Against this backdrop, Stoller considers Rouch's writings on Songhay history, myth, magic and possession, migration, and social change. By analyzing in depth some of Rouch's most important films and assessing Rouch's ethnography in terms of his own expertise in Songhay culture, Stoller demonstrates the inner connection between these two modes of representation.
Stoller, who has done more fieldwork among the Songhay than anyone other than Rouch himself, here gives the first full account of Rouch the griot, whose own story scintillates with important implications for anthropology, ethnography, African studies, and film.

There comes a time for most of us when we knowingly face a decision of such consequence that it will drastically affect the shape of our lives. Some people are prepared to carry the weight of that decision. David Lyons, the protagonist of "Gallery Bundu, "was not.
In Paul Stoller's work of fiction framed by African storytelling, David is the 52-year-old co-owner of "Gallery Bundu," an African art shop in New York City. As a young man in the late 1960s, he joined the Peace Corps to avoid the draft. Assigned to teach English in Niger, he was eager to seek out adventure, and he found it-from drugged-out American expatriates and mamba-filled forests to seductive African women. In the course of his stay in Niger, David meets and falls in love with Zeinabou, a strikingly beautiful woman who professes her love to him, though David believes that he is not the only man she dates. Two weeks before his anticipated return to the United States, Zeinabou informs David that she is pregnant with what she believes is his child. Not knowing how to react, David flees Niger and returns to America ridden with guilt. The hastiness of David's decision will shadow his every move for the rest of his life and eventually lead him to return to Niger to try to make amends.
Beautifully written and deeply felt, "Gallery Bundu "is a cautionary tale about the impulses of youth and the unyielding grip of regret. Stoller's vivid language and style allow readers, through David's recollections, to touch, taste, and smell the sensations of West Africa--the tasty aroma of a traditional African fish stew, the spectacle of witches, and the humorous and often frightening experiences of traveling in the bush. A lyricalnovel of decisions and destiny, "Gallery Bundu "is rich in character and detail, bringing to life the sensuousness of West Africa.