By Nigel P. Short, Lydia Turner, Alec Grant
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Additional resources for Contemporary British Autoethnography
She was only 10 years older than me but she had been a teacher twice as long. She wondered why I hadn’t taken any exams at school. ’ She was surprised: ‘Can you do that? ’ ‘Well it’s partly that. It’s an EdD. I’m aiming to share the story with colleagues, other teacher educators . . ’ 25 M. HAYLER There was a pause of some length. She didn’t seem keen. ’ ‘Will they all work at your place in Brighton? ‘No, some from Brighton. ’ She was smiling now. ’ ‘Me too,’ she laughed . . ’ London in November.
I’m tired’, I whisper. I feel afraid…He has power. ’ (Short, 2011, p. 131) GRANT IS AN INPATIENT IN AN ACUTE WARD He was there to dry out and be medicated. The role of the nurses… wasn’t specified, but he began to notice a pattern. Every half hour …one would pop her or his head through the door, then leave again…Sometimes they pop their heads round and smile, then go away. Sometimes it’s a head without a smile. After a while, the man asks one of them why they’re doing this… because he’s considered a suicide risk.
Now you see them, now you don’t, like a mad and boring Punch and Judy show. The fact that they don’t seem to want to talk with him, yet want to look at him at regular intervals, fuels his paranoia. He decides to observe them at regular intervals, in between them observing him. 15pm on his hands and knees (in the interests of subterfuge) and looks up at the nurses’ station. He is secure in the knowledge that the nurses can’t see him looking at them, and he is initially enthusiastic about keeping up his half hourly observational schedule.
Contemporary British Autoethnography by Nigel P. Short, Lydia Turner, Alec Grant