3.4 For example: I considered at great length the question of field. In classical anthropology, there’s a rigid distinction between “field” and “home.” Field’s where you go to do your research, immersing yourself, sometimes at great personal risk, in a maelstrom of raw, unsorted happening. Home’s where you go to sort and tame it: catalogue it, analyze it, transform it into something meaningful. But when the object of your study is completely interwoven with your own life and its rhythms, this distinction vanishes: Where (I asked, repeatedly) does home end and field begin? Or — and this problem follows from the last — I reflected on the anthropologist’s relation to the figures known as his “informants.” If these people’s background and culture are at base no different from your own, and if these people are your friends — albeit ones who might (or then again, might not) know of your sidebar ethnographic carryings-on — then how should you interrogate them? What constitutes “interrogation” in the first place? In what way should it be staged? Does sex with a Lycra-miniskirted informant on your writing table at five a.m. when you’re both tripping count? Does passing out with someone in a toilet? Then, in the train of that one — and I’m not skipping the solutions to these predicaments, these pickles, since I didn’t provide any — comes the question of the anthropologist’s persona. Since the necessary act of approaching the familiar as a stranger, of behaving — even to yourself — as if you didn’t understand the situations that in fact you do, is an obvious contrivance; and since, conversely, pretending to understand them, at a profound, unmediated level, to think and believe and desire certain premises, propositions, objects and outcomes, for the purpose of attaining better access to the subculture you’re infiltrating, is equally contrived; or, to flip it back the other way again, to actually think and believe and desire these, but to be forced nonetheless, in your role as anthropologist, to pretend you’re being and doing what you really are being and doing — in brief, since all this shit entails a constant shifting of identities, a blurring of positions and perspectives, you end up lost in a kaleidoscope of masquerades, roles, general make-believe.
3.5 I wrote about all this. It made me famous — relatively speaking. Let’s not get carried away. A famous anthropologist, even one with a real book out, is about as well-known as a third-division footballer. No, less: let’s say an Olympic badminton player, or a reality-TV contestant from an unpopular show five years ago. And come to think of it, I’m even exaggerating the degree of fame my study brought me in my own field, let alone the world of letters. Rather than “made me famous,” it would be more accurate to say that the book “garnered me some attention”—the odd public reading, the odd newspaper review; and, as they say, tomorrow’s fish (unlike ichthyomancers) can’t read. It was enough attention, though, to bring me onto Peyman’s radar, there to beep, or throb, or do whatever things on radars do; which, in turn, prompted him to pluck me from the dying branches of academia and re-graft me inside the febrile hothouse of his company.
3.6 My colleague Daniel had his office next to mine down in the basement. From time to time, I’d poke my head in there to see what he was up to. He was a visual-culture guy. He’d trained as a film-maker, and turned out a couple of avant-garde shorts before Peyman had hired him. When I looked into his office on the Tuesday of that week, I found him sitting watching a film, projected onto his white wall. It showed, shot from above, a section of a city crammed with traffic. What city’s that? I asked him. It didn’t look like a British or a European one, or North American either: the colours were different, and the vehicles seemed more wild and battered. It’s Lagos, he said. I shot it with Peyman a few months back. President Goodluck Jonathan lent us his own personal helicopter to go up in. Lagos, said Daniel, has the most amazing traffic jams in the world. You mean the worst? I asked him. No, not necessarily, he said; I mean the most amazing. Almost everything in Lagos is public transport: yellow buses, huge blue and red and brown trucks. The streets, he went on, aren’t wide enough for them, so they wedge and squish together. Look, he said: this portion coming up is great. I watched the wall, the footage. He was right: it was pretty awesome. Chains of buses maybe seven or eight long, these rivers of bright yellow, were trying to push their way down arteries that were too narrow for them, while isolated blocks of other colours tried to break in from the sides, insert themselves into the chains. When they succeeded, sequences of alternation and progression started typing themselves out: it looked like those helix-maps of DNA. The wildest thing about it all, said Daniel, is that, in between all these trucks and buses, there are people. You can’t see them from this high up, but they’re there. Won’t they get crushed? I asked (there wasn’t any space between the vehicles). You’d think so, Daniel said — but they slink in and out between and underneath them, like silverfish. Legend has it they’re dismantling them, these people — dismantling the vehicles and reassembling them too: the jam turns into an unending car market or pit stop. These bits you see curling above the road, he told me, pointing at some fern leaf — shaped outgrowths, are highway exits that lead nowhere — the thoroughfare was actually designed for a city where they drive on the left, not the right. The city to whom the designers originally submitted the plan rejected it, then the Nigerian Transport Ministry bought it on the cheap and didn’t bother to flip it around; and so there are these dead-end exit-ramps that all the vehicle parts are laid out in, organized by colour. I followed his finger: above the main road, in the dead-end curls, lay expanded pools in which red turned into yellow, yellow into brown, brown into black. It’s like a palette-menu, isn’t it? he said. The whole city’s like a painting, painting itself as you watch. I nodded; he was right. We sat in silence for a long time, watching.
3.7 I didn’t meet with Peyman that week, but I met with my friend Petr. Petr worked for a big IT outfit, as a systems analyst. I’d never really understood what that entailed, although he’d told me several times. We met in a pub. He had a thyroid goiter. You could see it on his neck: it moved about beneath the skin while he was talking, like a second Adam’s apple. His doctor, Petr told me, had decided that the goiter should be surgically removed. The removal was to be carried out in a couple of days. It was a small, routine procedure: he’d be in and out of hospital on the same day. But Petr didn’t want to talk about his goiter: he wanted to discuss the Project. His firm was working on it too, like hundreds of others. He congratulated me on the Company’s recent “sign-up to the Grand Metamorphosis.” What will you actually be doing? he asked. I couldn’t really answer him. I told him that Peyman was out of town, and that things would become much clearer once he came back — although, as I spoke these words, I doubted if they were in fact correct. Hey, Petr asked me: how’s the Great Report coming along? Oh, you know, I said: it’s finding its form. This seemed to satisfy him; he went back to talking about Koob-Sassen. It was a huge, ambitious scheme, he said, on the same scale as poldering and draining landmasses of thousands of square miles, or cabling and connecting an entire empire — and yet, he continued, the most remarkable thing about it was that, despite its massive scale, it would remain, in an everyday sense, to members of the general populace, invisible: there’d be no monuments, no edifices towering above cities, spanning countrysides, dotting coastlines and so on. It was a feat, rather, of what he called network architecture. He went on for a long time about networks, convergence, nodes and relays, interstices — it was very abstract. I found myself zoning out; by the third drink, I’d stopped listening to his words completely and was paying all my attention to the goiter just above his voice-box, to the way that, like Lagos’s traffic, it squished and slid.