"When I return to Sam’s place with the cheesecloth, I smell our “soup” pot. Shit. I envision the blotter headline: ECU Professor busted for marijuana. What a way to make my graduate mentors proud and to show success at this professor business."
"Congratulations to Shanita Mitchell, Editorial Board member of The AutoEthnographer and multimedia artist, for her recognition by the International Association of Autoethnography and Narrative Inquiry (IAANI)."
"Then comes that special brand of rage and dejection that the patriarchy inspires by attempting to steal away with my bodily autonomy."
“A Seat at the Table” is the autoethnographic manifestation of my vulnerability, anger, and anguish, of my black feminist grit."
"Once I have the first line or two, the rest of the poem seems to flow rather easily. I write whatever comes to mind. Somewhat like a story rather than a poem. I then start to take out the excess words and phrases and pare it down to the essence of what I wish to say. Other times I do not change a word. The muses come and go on their own. I also believe poetry has chosen me."
”I share this artistic piece as an invitation to problematise and think further about not only the Autoethnographic “I/We” in what I/we can know about ourselves and our bodies but also to make space for the incoherence that becomes a part of “being” and “knowing” in explorations of fragmentation and loss.”
"I called out the demons one by one. I named them. I gave them precise blocking and ultimately, I controlled where they stood, breathed, and bourréed. I gave them an entrance, and a stage, and then I sent them away."
New Issue! Volume 1, Issue 1, Summer 2021
"When I review evocative autoethnography I look for that layer in the contribution that will entertain and connect to a cultural issue."
"As fragrance, and perfume in particular, has played a major role in the shaping of my writer’s voice, and participation in cultures of fragrance has had a major impact upon my identity, it is impossible to situate myself outside of these cultures. It is because of this privilege of “insider identity” within the global fragrance community and my natural inclination towards narrative research that I turned to autoethnography."
"When I was first accepted into the PhD by research program in the UK, I had mixed feelings, mainly because I was about to pursue a career that I didn’t have the heart for, and partially because I would need to explore yet another new culture, country, and environment."
"My poems are not entirely mine. They belong to the people and events of my passage through life. For once the dam is breached its contents flow unabridged. - Milton Carp, poet at 91"
