"'SEE ME, Windows to the Self of the Performer-Autoethnographer' explores the question, 'What can I learn about myself by making artwork as autoethnography'?
As a feminist poet and (auto)ethnographer, I found Leavy's themes of Film Blue speak to what I want my work to do and be.
"Award-winning artist, Suzanne Hughes, talks about autoethnography and painting. Suzanne is responsible for the cover art for our special issue based on climate change."
From all there is something to be learned, as the river itself has been victimized, has not escaped its own environmental terrorism.
Editor Guillermo Gil's latest book review - The Autofictional: Approaches, Affordances, Forms - explores definitions and uses of autofictional writing.
Humor acts as a defense mechanism, a pressure release valve, a teaching tool. As a heart surgeon, I have used laughter for all these reasons.
Poet Anne McCrary Sullivan discusses her latest book Learning Calabar, Notes from a Poet’s Year in Nigeria with editor Michelle Reale.
"At friends’ homes and the inexpensive trattorias where I usually ate, there was always wine and water on the table, but often only one glass."
"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"
“Woken Word” was born as my inner voice was awakening and the world, ironically was becoming “woke” while simultaneously retreating into isolation.
The focus of this piece is to highlight and celebrate the asexual and aromantic community and what it means to exist outside of the expectation to be partnered.
Can a colorless person have any sense of what it feels like to be prejudged against, before “the you - inside yourself” opens your eyes in the morning?