"In "Becoming Multilingual," part 2 of my column, "¡Aguacate! Bringing Up Bebe Bilingüe," I use autoethnography as a writing approach to capture and represent the personal experiences of myself, a qualitative researcher, who has become the researched."
"'SEE ME, Windows to the Self of the Performer-Autoethnographer' explores the question, 'What can I learn about myself by making artwork as autoethnography'?
"I'm proud to announce that this week, on July 13, Rowman & Littlefield will traditionally publish my second book, Coping with Parental Death: Insights and Tips for Teenagers."
"Damned," the first publication in The AutoEthnographer's Bodily Autonomy issue, is the product of my confused reflection and internal conversations with the culture that raised me."
"The following autoethnographic poetry represents the experience of being a casual academic negotiating the workspace."
"I tend to take every loss of rainforest personally. My autoethnographic poetry 'The Threat' and 'John Doe' are reflective of this."
In this new issue from The AutoEthnographer, we follow a ballerina through the desert, glimpse into the funeral industry, and process parental grief.
I write of parental grief & my mother's sweater as a comfort to me, exploring cultures of grief where pain meets love and love meets pain.
"She needs to be an artist to be an artist-teacher in adult community learning. She needs to do both to become the best she can be."
“Cold Snap” is about two disparate adults, caught in the tumult of abrupt weather change, caused by the accidental detonation of an experimental meteorological weapon.
"Unspeakable is a consideration of the silencing effects of stuttering, political censorship, unspeakable wartime atrocities, and the silent communication within virtual relationships."
"When a favorite perfume ceases to exist, it is another kind of death. Having been created, it leaves a special sort of emptiness," from Eulogy for a Perfume.