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T h e Et h n o g r a p h e r W r it e s in term s o f relationships— with the culture in question, with a potential reader, with the text itself. Because of these relationships, the accumulated data pose two main rhetorical problems. The anthropologist feels the responsibility for ordering the field notes so that the reader can make some sense of what the culture is like; however, this normalizing rhetoric only partially reflects the culture (and, as some have argued, may, in fact, distort it). The ethnographer has to find other rhetorical means by which to engage the spirit of the people. In The Realm of Rhetoric Chaim Perelman suggests that the rhetoric of any field should employ the discursive means necessary to fully make the case.2 It seems plausible, then, that a popularizing and experimental rhetoric like Margaret Mead’s in Coming of Age in Samoa3 would draw on more than logical analysis in order to tell the story. In this pioneering ethnography,4 published in 1928, Mead does more than normalize data. She also looks to poetics and visual art. The ethnography is cast overall in the analytical voice, particularly note­ worthy in Mead’s concern with methodology in the elaborate set of appendixes. In one unusual chapter, however, (Chapter two, entitled, “A Day in Samoa”) Mead assumes the roles of poet, dramatist, story­ teller, and landscape artist instead of that of the analyst that she prefers elsewhere in the text. The chapter is lyric and seems in one sense to be a prose poem or in another, a vignette, or even perhaps a one-act play, closely observing unities of time and place. Mead’s apparent urge, however, to enfold the action of a daily cycle into the colors, sights, sounds, smells, and feel of a lush Samoan setting turns the dramatic twenty-four hour spectacle—from Samoan dawn to

The Rhetoric of Anthropology: A Reading of the Landscape Chapter in Coming of Age in Samoa