"Have you ever crossed the desert in a circus train? I took such a detour—by choice— in 1978 when I hung up my pointe shoes to ride an elephant named Peggy."
In the autoethnographic "Spinach Lasagna", the narrator joins a family of southern Italians and learns that grieving is cultural.
"In this autoethnodrama, a woman terminates a pregnancy without telling her husband."
This is a humorous narrative nonfiction account of the strangest job I ever had working for a kooky fitness guru in Manhattan for six years.
“A Seat at the Table” is the autoethnographic manifestation of my vulnerability, anger, and anguish, of my black feminist grit."
This piece works to contextualize aging in the queer community, the complexities of developing trends in spectacle versus intimacy, the depth and shallow natures that are found in performance, as well as the fear and hope that can be found as a queer person.
My essay tells my life story in relation to a specific moment in the history of American women’s access to abortion and reproductive justice.
In this essay, the current reality of queerness is juxtaposed against milestones in my own life as a queer man in America.
"This autoethnographic essay explores in a (hopefully) creative way ideas about social class in relation to my own negotiations of identity and upbringing in eastern Sydney, Australia."
In this story I shifted my attention to the young woman –a nurse or a volunteer– who sat beside me and held my hand throughout abortion.
"I wrote Asha’s story to give voice to all the women in rural Bangladesh who cannot speak out against their abusers or society."
This essay and video introduce an autoethnographic study of my life as a deaf child in Finland learning sign language.