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| Cast of Characters | |
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| Preface | |
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| Introductions and Interruptions | |
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| Getting over the Syllabus | |
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| Introductions | |
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| A Personal History: From Sociology to Communication, from Ethnography to Autoethnography | |
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| Interlude: Living and Writing Final Negotiations | |
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| Reflections on Living the Autoethnographic Life: Cross-Status Relationships Revisited | |
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| The Call of Autoethnographic Stories | |
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| Contextualizing Autoethnography within Ethnography | |
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| Autoethnography: An Introduction | |
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| Autoethnography: Definition and History | |
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| Autoethnography: The Term of Choice | |
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| Autoethnographic Approaches | |
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| Interlude: Mentoring Autoethnographic Projects | |
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| Reflections on Living the Autoethnographic Life: Performing Relationships | |
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| How We Met (by Arthur Bochner and Carolyn Ellis) | |
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| Autoethnography in Interview Research | |
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| Issues in Autoethnographic Interviewing | |
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| Reflexive Dyadic Interviews | |
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| Interactive Interviewing | |
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| Interlude: Connecting with Autoethnography | |
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| Co-constructed Narrative | |
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| Reflections on Living the Autoethnographic Life: Responding to Abortion | |
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| Interlude: Abortion Revisited | |
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| Autoethnographic Projects: Putting the Self into Research | |
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| Empathy in Researching Illness, Dying, and Medical Teams | |
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| Cross-Racial Relationships | |
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| Discovering Messianic Judaism and Experiencing the Spiritual | |
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| Interlude: Not Everyone Can Write Evocative Autoethnography | |
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| Losing a Father and Constructing a Story | |
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| Performing Domestic Abuse | |
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| Bifurcated Identity: Becoming Latino | |
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| Retreating to Silence | |
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| Interlude: Revealing Is Painful | |
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| Reflections on Living the Autoethnographic Life: The Pain of Revealing | |
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| Writing Field Notes, Interviews, and Stories: Issues of Memory and Truth | |
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| "Getting It Off My Chest" and Living with Breast Cancer Survival | |
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| Taking Autoethnographic Field Notes, "Capturing" Experience, Memory, and Emotional Recall | |
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| Interlude: Teaching Autoethnography | |
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| Interlude: Emotions, Politics, and Social Change | |
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| Conducting and Writing Up Interviews: From Accuracy to Memory to Truth | |
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| Reflections on Living the Autoethnographic Life: Life Seeps into Work | |
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| Writing Therapeutically, Vulnerably, Evocatively, and Ethically | |
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| Interlude: "Maternal Connections" | |
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| Writing Therapeutically | |
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| Rewriting Autoethnographic Stories: Making Ourselves Vulnerable | |
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| Writing Evocatively | |
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| Interlude: Life Becomes Work | |
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| What about Ethics? | |
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| Reflections on Living the Autoethnographic Life: Sometimes You Need an Escape | |
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| Class Interludes: Living Autoethnography: Life Informs Work Informs Life | |
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| Balancing Vulnerability and Risk | |
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| Life Becomes Performance/Performance Becomes Life | |
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| Life Ends, Work Begins | |
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| Retellings | |
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| Rereadings | |
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| Studying Others/Studying Ourselves | |
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| Communicating about Death | |
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| Writing as Inquiry | |
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| Introduction | |
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| Our Work/Our Selves | |
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| Bringing It Back Up | |
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| Breaking Hearts | |
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| Framing a Story | |
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| Revisions and Endings | |
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| Interlude: Raising Eyebrows and Running for Cover | |
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| Friendship Interlude: Artful Autoethnography | |
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| Art as Autoethnography/Autoethnography as Art | |
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| Autoethnographic Forms of Writing | |
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| Autoethnography as "CAP" Ethnography | |
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| Analysis in Storytelling | |
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| Reciting Poetry | |
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| Performing Autoethnography | |
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| Autoethnography On-line | |
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| Multivoiced and Mixed Genre | |
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| Arts-Based Autoethnography | |
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| Interlude: The Storyteller | |
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| Final Projects | |
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| Illusions, Fantasies, Dreams, and Reflections: An Autoethnography of Abuse | |
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| The Complexity of Cross-Racial Relationships | |
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| "Then You Know How I Feel": Empathy, Identification, and Reflexivity in Fieldwork | |
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| A Crisis of Self: The Challenge of Breast Cancer and Long-Term Survival | |
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| Dialogical Intersections: The Death of a Father | |
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| Messianic Judaism: Searching the Spirit | |
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| Latino-White Bicultural Identity | |
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| Interlude: Work Spills into Personal Lives: Anger in Relationships | |
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| Evaluating and Publishing Autoethnography | |
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| Criteria for Evaluating Autoethnographic Projects | |
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| Institutional Review Boards | |
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| Getting Published | |
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| Reflections on Living the Autoethnographic Life: Dealing with Rejection | |
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| Community Interlude: Taking Autoethnographic Research to a Domestic Abuse Shelter | |
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| Collaborative Research about Domestic Violence Workers | |
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| Engaged Collaborative Research: Writing a Story of Multiple Viewpoints and Feelings | |
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| Connecting Research and Practice: A Case of Working against Domestic Abuse | |
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| Participant Interludes: Autoethnographic Conversations about Autoethography | |
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| The Responsibilities of Doing Autoethnographic Research: Interview with Judy Perry | |
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| Reactions to the Book and to Being a Character | |
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| Doing Autoethnographic Research on Family Members | |
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| Using Autoethnography to Understand the Perspectives of Others | |
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| Mentor-Mentee Relationships | |
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| Real Names or Pseudonyms/ Therapy or Autoethnography?: Interview with Valerie Macleod | |
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| Reactions to the Book and to Being a Character | |
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| Confidentiality and Family Members | |
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| Role of Autoethnography | |
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| Autoethnography and Therapy | |
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| Literary Agents | |
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| Is There a Downside to Doing Autoethnographic Research?: Interview with Penny Phillips | |
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| Reactions to the Book and to Being a Character | |
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| Experiencing the Moment | |
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| Revisiting the CASA Story | |
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| Exploring Autoethnography and "Real Life" | |
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| Embodied Writing/Embodied Listening: Interview with Laura Ellingson | |
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| Reactions to the Book and to Being a Character | |
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| Embodied Writing | |
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| Listening to and Telling Stories: Autoethnographic Connections | |
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| Mixed Genres and Methods | |
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| Autoethnography or Sensationalism?: Interview with Leigh Berger | |
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| Reactions to the Book and to Being a Character | |
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| Embracing Autoethnography | |
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| The Writing Process | |
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| The Autoethnographic Experience | |
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| Autoethnography and Sensationalism | |
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| Straying from Autoethnography: Interview with Hector | |
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| Autoethnographic Impressions | |
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| Reactions to Being a Character | |
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| Representing Family Uncritically | |
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| Critical Representation of Structure and Power | |
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| Authenticity, Faith, and Context | |
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| Incorporating Autoethnography | |
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| Author Interlude: Writing a Methodological Novel: Thinking Like an Ethnographer, Writing Like a Novelist | |
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| Thinking Like An Ethnographer | |
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| Writing Like a Novelist | |
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| Developing Plot | |
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| Selecting and Developing Characters | |
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| Scene Setting | |
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| Dialogue | |
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| Co-creating a Text | |
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| Getting Consent | |
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| Giving Acknowledgment | |
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| Ending and Beginning/Examining and Living | |
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| Suggested Readings and Assignments for an Autoethnography Class | |
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| Chart of Impressionist and Realist Ethnography | |
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| Guidelines for Personal Writing Papers | |
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| Editing Personal Narratives | |
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| Notes | |
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| References | |
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| Name Index | |
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| Subject Index | |
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| About the Author | |