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Research with communities, even co-produced research with a commitment to social justice, can be limited by its expression in conventional disciplinary language and format. Vibrant, warm and sometimes complex encounters with community partners become contained through the gesture of representation. In this sense, ‘writing up’ can actually become a kind of slow violence towards participants, projects and ourselves. As a less conventional and containable form of expression, poetry offers an alternative to the power games of researching ‘on’ communities and writing it up. It is excessive in the sense that it goes beyond the cycles of reduction and representation, allowing the expression of subjective (and perhaps sometimes even contradictory) impressions from participants. In this co-written paper we explore poetry as a social research method through subjective testimony and in the light of our Connected Communities funded projects (‘Imagine’, Threads of Time and ‘Taking Yourself Seriously’ ) where poetry as method came to the fore as a way of hearing and representing voices differently.

Research with communities, even co-produced research with a commitment to social justice, can be limited by its expression in conventional disciplinary language and format. Vibrant, warm and sometimes complex encounters with community partners become contained through the gesture of representation. In this sense, ‘writing up’ can actually become a kind of slow violence towards participants, projects and ourselves. As a less conventional and containable form of expression, poetry offers an alternative to the power games of researching ‘on’ communities and writing it up. It is excessive in the sense that it goes beyond the cycles of reduction and representation, allowing the expression of subjective (and perhaps sometimes even contradictory) impressions from participants. In this co-written paper we explore poetry as a social research method through subjective testimony and in the light of our Connected Communities funded projects (‘Imagine’, Threads of Time and ‘Taking Yourself Seriously’ ) where poetry as method came to the fore as a way of hearing and representing voices differently.

This paper seeks to explore the meaning of the sham with regards to academic writing. It challenges the fundamental assumptions that underpin conventional academic writing and suggests that such writing is actually less honest than the other forms of writing that it sets itself against. It is precisely the reliance on what Laurel Richardson calls the “authority moves” (1997, p.167) of academic language that undermines its claim to represent reality in an open and honest way. It is, in fact, a sham.The rejection of the superior truth claims of academic writing is illustrated with reference to two interview transcripts from a completed study and the issues raised are explored theoretically in the light of the work of Hélène Cixous. It is argued that the adoption of Hélène Cixous’ notion of l’écriture feminine provides a way out of the dilemma. Inspired by Cixous, it is argued that it is possible to escape the limitations of conventional academic writing firstly through the incorporation of a kind of writing practice which has more in common with poetry than rational argument and secondly through the incorporation of generically diverse texts within the social science research text.

This paper seeks to explore the meaning of the sham with regards to academic writing. It challenges the fundamental assumptions that underpin conventional academic writing and suggests that such writing is actually less honest than the other forms of writing that it sets itself against. It is precisely the reliance on what Laurel Richardson calls the “authority moves” (1997, p.167) of academic language that undermines its claim to represent reality in an open and honest way. It is, in fact, a sham.The rejection of the superior truth claims of academic writing is illustrated with reference to two interview transcripts from a completed study and the issues raised are explored theoretically in the light of the work of Hélène Cixous. It is argued that the adoption of Hélène Cixous’ notion of l’écriture feminine provides a way out of the dilemma. Inspired by Cixous, it is argued that it is possible to escape the limitations of conventional academic writing firstly through the incorporation of a kind of writing practice which has more in common with poetry than rational argument and secondly through the incorporation of generically diverse texts within the social science research text.

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