It's a trap," Eminem warns us against dwelling too much in the past. "Fuck my last Cd that shits in the trash." 1 It's hard to disagree altogether with the aging hip-hop megastar. Our modern pieties enshrine remembering as our moral duty and a therapeutic necessity for individuals and nations alike. But sometimes, as others before Eminem have also suggested, forgetting may not be such a bad thing. Nietzsche claimed cows are happier than people because they can't remember anything that happened more than a few minutes before. Then again, it may not be wise to take cows entirely for our model. We anthropologists, when we do bother to look back, sometimes lean on canned histories about complicity with colonialism and other real and imagined disciplinary failings. Our tendency is to adopt an almost childish enchantment with the latest trendy theories, theorists, and topics. It's a mark of vitality, and yet it can also leave one puzzling over just what waters the patched-up schooner of anthropology has crossed and where it may be headed next. This collection is about anthropology's past, present, and possible future ports of call. A spirit of retrospection, pace Marshall Mathers, gave rise to the project in the first place. In 1986, the year of Halley's comet and the first ibm laptop, perhaps the single most influential anthropology book in recent decades appeared: Writing Culture: The Poetics and Politics of Ethnography. As the twenty-fifth anniversary of the book's publication neared (and, as these things do, soon passed), it provided an occasion for inviting the editors, George Marcus and James Clifford, and a group of leading anthropologists to offer their thoughts about the book and its legacies. 2 Their by turns wistful, optimistic, elusive, fragmentary, programmatic, and provocative essays about the field then and now come together in this book. introduCtion 3 or "against" it. It sometimes felt, if you gave the wrong answer, as though someone might push the button to the trap door under your chair. Why did Writing Culture generate such controversy? After all, others had already called for radically rethinking anthropology amid the turmoil of decolonization and social protest across the late 1960s and 1970s. A pair of earlier landmark anthologies, Reinventing Anthropology and Anthropology and the Colonial Encounter, had been especially influential in opening the discipline to serious scrutiny. 6 The rising influence of Marxist and feminist theory, also predating Writing Culture, had gone along with a new concern for the nexus of culture, power, and history together with a more politicized anthropology. Much about Writing Culture indeed bore the imprint of 1960s radicalism. The contributors were mostly baby boomers who had marched against the Vietnam War and been influenced by that era's countercultural currents. An antiracist, anticolonial sympathy for the subaltern ran through the book. What Writing Culture added to the mix were the new sensibilities of literary, poststructuralist, and postcolonial theory in va...