1: THE UNWRITTEN STORY IS MORE INTERESTING THAN THE WRITTEN
The greater value of the book Archaeology and Potterry of Naska, Peru is an "other" discourse to be found not in the written lines, but rather between them, easily perceivable to the knowledgable reader. The source that informs the tale, yet to be told, is a book listed twice in the bibliography: Peru Antiguo: espacio y tiempo. It is the entry recorded under the name Lorenzo Rossello that leads the willing and wanting researcher toward a Peruvian perspective, ignored by the editors of this book: a Chanka style, pre-Wari. Sustained attention, directed toward that bibilographical entry, as well as that of the late peruvian archaeologist Toribio Mexjia Xesspe, mentor of Rossello, suggests a contradiction with the following statement, "Tello, at about the same time, inverted the sequence, calling the B phase pre-Nazca, and the A, Nazca; but he did not elaborate or press his view" (Carmichael 1999: 26). In fact, an article written by Mejia Xesspe deals with the puquios of Naska and Chanka (see Mejia Xesspe, 1946, Folklore No. 16, Lima). That is why a wider encounter with the theme Nazka/Chanka could bring with it the necessary and serious questioning of the methodology of contemporary academia and its relation to politics, of post-processal archaeology and so-called Post Modernism, itself.Those searching for a ground from which to begin to understand can find it in the article "From Social Archaeology to National Archaeology" up from domination", American Antiquity Vol. 64 No. 2 to be released May 17 by the Society for American Archaeology.
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