This essay follows the parenthetical opening of the fieldwork confessional into the parenthetical spaces within our fieldwork archives, in order to consider the nature of those parentheses and of their complex claims on our writing and relating. Noticing an echo of address across several fieldsites and their material traces, this essay follows a thread I find winding through an archive of narratives I've made with Uitoto interlocutors over 15 years of being folded into the ambivalent relations of adoptive kinship that have framed my fieldwork with migrant and displaced Uitoto families in Colombia. That archive includes recordings and images, notes and transcriptions-the recognizable traces of field research-that assemble narratives of migration and childbirth, illness and displacement, and curing. It contains traces of pages and images that are stowed in numbered boxes on shelves in Iquitos and London, these differently potent bundles that constitute the historical record of the colonization of Uitoto worlds by rubber traders, narcotraffickers, and armed counter/insurgents over the past century. It also contains traces that are only legible, like the embossed verso of a text on an apparently blank page, to an oblique gaze (Desjarlais and Habrih, 2021) . Within the space of adoptive kin-making that has been the container of my engagement with that history, and in the terms of the Uitoto people who have made me kin, the shared archive we have made also includes tenacious memory and tenuous ties, and the substantial traces of those ties in my person, in our entanglement as persons. In Uitoto kin-making praxis, substances (including ancestral plant foods and medicines, tears, sweat, smoke, etc.) shared over time are needed to make people kin, and processes of gradually coming to matter together have been an essential part of our capacity to build archives of shared memory with and in each other. Not only a factual record, the building up of an archive of colonization, displacement, and world-curing work has meant learning to carry stories that can hold together a world or undo it. It has meant learning to be addressed in particular ways. It has also raised a perpetual question of the conditions and consequences of those forms of address, and of one particular form of address that is as recurrent as it is insoluble. The thread this essay follows is the tangle of ties named by the address of love. This parenthetical hailing is a form of address by which I have found myself called in by my Uitoto interlocutors as a witness and a carrier of stories that were precious (because potent or curative), dangerous (because traumatic or volatile), or fragile, because they were being told in the context of a world in which they were hard to keep present or lively. This form of address is recognizable as the opening of a fieldwork confessional because of the way it both compels and conditions fieldwork intimacies-the way it both enables a scene of ethnographic knowledge-making and exceeds our habitual ethical gestures in the face of ethnographic disclosure. This form of address-as the parenthetical opening of a fieldwork confessional-both tells us we're on the inside of something, and gives us something that exceeds the inscriptive powers of ethnographic representation as containment. Being addressed in this way implied being called in to carry something that was not mine, that might be hurtful to touch, for both the person who was sharing it and the person who might hold it for them. The stories that followed this address were sometimes kin-curing ones, the kind that are told to help someone find their way back into the right fold of sociality, back into the right world. Those were stories that belong to Uitoto people and that travel along kin lines. They are about the beginning of human life and illness and curing-the beginnings that are revisited with every life and every illness and every cure. Uitoto curing practices are both perpetual and punctuated; they take the form of continuous labor to make and remake distributed bodies whose shared substance resonates with shared susceptibility, as well as punctuated narrative and ceremonial practices to make This is an open access article under the terms of the Creative Commons Attribution-NonCommercial-NoDerivs License, which permits use and distribution in any medium, provided the original work is properly cited, the use is non-commercial and no modifications or adaptations are made.
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