Mapping Sociological Realities Through A Fictional Lens

Employing fiction as a sociological source for research may appear unconventional, yet its significance lies in its ability to illuminate certain facets of human experiences that conventional academic prose may not adequately capture. To fully grasp its effectiveness, it is essential to grasp the concept of sociological fiction. In sociology, fiction refers to literary works such as novels, short stories, plays, and poems that are created by authors as imaginative narratives rather than factual accounts. Benjamin Moodie, in his article Using Fiction Sociologically, argues that fiction can serve as a valuable source of data for understanding culturally patterned emotions and evaluations that may be challenging to study through traditional sociological methods. By analysing the content of fiction, sociologists can gain insights into the ethical truths, cultural beliefs, and emotional landscapes of societies (Moodie, 2010:2). Sociological fiction, serves not just as a data source for understanding societal emotions and ethical truths, but also as a potent tool for social inquiry, according to Ash Watson (Watson, 2021).

Through the use of creative writing, close analysis is made possible by anonymity, perspective, distance, engagement, and speculation. By using fictional stories, participant anonymity is preserved and a crucial distinction between personal experiences and storytelling representation is fostered. Additionally, narrative storytelling gives writers the freedom to adjust perspective and distance, enhancing reader engagement. Watson emphasizes the use of sociological fiction for research, particularly focusing on engaging research participants in writing fiction.

While sociological fiction is recognized as a source for research, it has faced criticism from scholars like J.P. Ward in 1981. Ward argued that poetry’s complexity makes it challenging to understand. Another critique suggests that translating poetry’s meaning, rather than just language, presents difficulties (Hill, 2006). Considering various scholars’ viewpoints on sociological fiction’s viability, it’s crucial to establish clear distinctions within this field.

It becomes important to distinguish between sociological fiction created solely for research purposes and fiction derived from real-life experiences that may or may not be for consumption which are then studied. Keeping this in mind, in understanding fiction within sociology, it’s vital to ask a few key questions. Who created it? Why and for whom? Under what conditions? Does it contribute to a discourse? These questions help us understand what sociological fiction is and how it works.

Understanding Sociological Fiction: How it Works and its Viability in Research

Sociological fiction can be effective in various conditions and for different types of research. Fiction as Social Inquiry – a talk by Ash Watson, clarifies these conditions and approaches. Story completion is one such technique in which a researcher starts a made-up narrative and asks participants to finish it, providing insights into perceptions and social imaginaries. This approach involves providing participants with the beginning of a fictional story on a predetermined theme and asking them to continue it. Originally conceived as a psychological testing tool akin to inkblot tests, this method has evolved over time, especially through the contributions of feminist scholars like Celia Kitzinger who emphasized social meaning-making. Using Google Forms or holding workshops makes it easier for participants to create narratives and offers a non-intrusive way to discuss delicate subjects and hear participant viewpoints. Another approach employed by sociologists is the usage of creative workshops which provides an alternative avenue by encouraging participants to write creatively around predefined themes or issues. It is similar to how plays involve people in social research. For example, the Story in Relationships project, led by Richard Phillips at the University of Sheffield, is a good example of this. They looked into how young British Muslims, especially those with Pakistani background, think and talk about their relationships. They organized creative writing workshops with help from published Muslim writers. Richard Phillips found that creative writing was really helpful in discussing sensitive topics that are hard to talk about directly, going beyond usual research methods (Watson, 2021). This example demonstrates the effectiveness and viability of utilizing sociological fiction in research.

While this particularly focused on sociological fiction crafted by sociologists for research purposes, it is essential to acknowledge the existence of other forms of fiction created under different conditions. These fictional writings then become sociological when they are studied and used for research. For example, it is often challenging, if not impossible, to articulate the unimaginable grief, suffering, and trauma experienced during the Holocaust. As a result, a lot of survivors still find it difficult to convey their experiences even now.

Poetry became a means of expression for many Holocaust survivors and victims to express their experiences in a way that conventional discourse was unable to. Marian de Vooght, asserted that the poems wrestled with the incomprehensible reality its writers were facing. She argued that the primary purpose of the poets was to share their pain while being uncertain of their future in the concentration camps. The poems, she noted, survived, while the poets very often did not. Reading Holocaust or Nazi memoirs, or the poetry of resistance and hope, as seen, prompts reflections on our time. Many of these questions arise in Yiddish and Polish poetry written under conditions of siege: in ghettos and concentration camps. Perusing these volumes offers a glimpse into a psycho-biographical history of the events and conditions in which citizens were surveyed, identified, targeted, excluded from the category of ‘citizens’, and eventually from the category of the human itself. Friends ceased to remain friends as racial, ethnic, and other hierarchies intervened, and social relations, like citizenship, were defined by which community one belonged to.

Władysław Szlengel, a poet incarcerated in the notorious Warsaw Ghetto who died there, encapsulates this sentiment in his poem ‘Telefon’:

“And so, I thought: let me call someone on the other side, when I’m on telephone duty in the evening-

Suddenly I realized: by God – there is actually no one to call, in nineteen thirty-nine I turned a different corner –

Our ways have parted, friendships have sunk in a swamp and now it’s plain to see- here is no one I can reach” (Nayar, 2020).

Fiction written in conditions other than war and terror can be informative as well, providing perspectives on a range of societal issues. Star Wars – an American space epic opera media franchise crafted by George Lucas, is a fictional creation primarily intended for entertainment consumption. But it also acts as a conduit for information that helps us understand larger political and societal issues. Star Wars captivates audiences with its portrayal of rebellion against tyranny, a narrative deeply rooted in principles of conflict and strategies of war reminiscent of Earth’s history. Political analyst Sarah Parkinson compares actual rebellions to the insurrection portrayed in the Star Wars film series in a recent article for The Washington Post. Parkinson emphasizes the hard nature of rebellions, stressing their endurance and the strategic decisions that determine their results, using 2016’s Rogue One as a key example. She contends that these basic issues of insurgency are explored at the core of Star Wars (Parkinson, 2017). Furthermore, the inclusion of strong female characters like Princess Leia, Rey, and Jyn reflects an understanding of the vital roles women play in rebellions, mirroring research findings on the diverse and significant contributions of women to such movements. The franchise’s portrayal of these individuals challenges traditional narratives that frequently centre on visible male warriors and heroes, shedding awareness on the frequently unseen but crucial roles that women play in maintaining rebellions. Scholars and fans alike can learn more about larger societal dynamics—such as the value of diversity and resilience, as well as the sometimes-underappreciated contributions of individuals to group battles for freedom and justice—by studying these themes and character relationships in Star Wars.

R.K. Laxman’s creation The Common Man stands as another significant form of fiction embodied in the comic strips featured in newspapers, offering a lens through which to understand the cultural dynamics of society. By means of this common and ordinary figure, Laxman depicts the difficulties, hardships, and day-to-day existence of middle-class Indians. The Common Man has poignantly represented the ambitions, goals, and struggles experienced by the average Indian since it first appeared in 1951 as a part of the daily comic strip You Said It in The Times of India. Originally intended to represent India’s diverse states and cultures, the Common Man eventually became the main character, acting as a silent witness to the events taking place in the comic. Anthropologist Ritu Gairola Khanduri has observed that this character, dressed in a dhoti and a plaid jacket, pays close attention to the political circus and cultural nuances, providing insights into the complexities of Indian life and society (Khanduri 2012). Therefore, this work of fiction holds potential for sociological inquiry, particularly in its examination of class dynamics, societal norms, and the continually shifting landscape of Indian culture.

Conclusion

Sociological fiction, despite its unconventional nature, stands as a unique and valuable sociological source to conduct research with various applications. Whether crafted by sociologists for research purposes or arising from different contexts for consumption, sociological fiction offers rich insights into human experiences, societal dynamics, and cultural complexities. Through techniques such as story completion and creative workshops, researchers can engage participants in exploring sensitive topics and social imaginaries. Examples like the use of poetry by Holocaust survivors illustrate how fiction can illuminate nuanced aspects of society and historical events that traditional sources may struggle to capture. Furthermore, even popular cultural fictions like Star Wars or The Common Man comic strips offer avenues for sociological inquiry, shedding light on broader societal issues and cultural dynamics. Hence, sociological fiction, in its varied forms, presents a viable and insightful approach to understand the complexities of human societies.

References:

1. Hill, Michael R. (2006). Sociology and Poetry: An introduction. Sociological Origins. 4: 66-68.

2. Khanduri, Ritu G. (2012). Picturing India: Nation, Development and the Common Man. Visual Anthropology. 25(4), 303–323.

3. Moodie, Benjamin. (2010). Using Fiction Sociologically. University of California. https://escholarship.org/uc/item/5n07h3z2

4. Nayar, Pramod K.  (2016). Poetry from the Ghettos: Voices of the Holocaust. The Wire. https://thewire.in/books/poetry-ghettos-holocaust

5. Parkinson, Sarah E. (2017) How to watch Star Wars like an insurgent. The Washington Post. https://www.washingtonpost.com/news/monkey-cage/wp/2017/12/15/how-to-watch-star-wars-like-an-insurgent/

6. Watson, Ash. (2021). Fiction as Social Inquiry. National Centre for Research Methods EPrints Repository. https://eprints.ncrm.ac.uk/id/eprint/4595/

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Srishti Ganguly is pursuing a Master’s in Sociology from South Asian University (SNU), New Delhi.