Chapter 8 is about the writing and reporting of emotion, the problem of retaining and reporting for analysis what we witness in the field. It begins with an example from neo-realist film, then turns to a selective history of ethnography, showing at each stage and with each paradigm what gets included or left out. Detailed examples from Malinowski and Firth are considered. I argue that mid-century functionalism, Culture and Personality, structuralism, Geertzian interpretivism, and person-centered anthropology have all sacrificed key elements of natural emotion - time depth and interpersonal history - for theoretical or presentational advantage. A sample from a Nias narrative shows what can be gained through highlighting these elements and what must remain a mystery.