The stories in Narrating Estrangement: Autoethnographies of Writing Of(f) Family demonstrate the pain, anguish, and even relief felt by those who contemplate estranging or who are estranged, whether by choice or circumstance. Despite the social assumptions persisting about the everlasting nature of family relationships, when people make the complicated and often difficult decision to disconnect from family members, they experience shame, stigma, and isolation because of social pressures to maintain those relationships at all costs. Each contributor uses the act of storytelling and the autoethnographic mode of scholarship and writing to find clarity in their individual, unique, and complex situations. Several authors’ explorations restore some of what they have lost through estrangement—such as a sense of identity, emotional health and well-being, and feelings of belonging—due to the breakdowns in social and family support systems meant to be unconditional and "permanent." The stories display the wide array of reasons why family members become estranged, delving into different types of estrangement, permanent and/or intermittent. In doing so, the writers in this book demonstrate that family relationships are neither easily categorized nor neatly ended—their impact on an individual’s life continues and changes, even in and through estrangement. This book adds to the ongoing scholarly conversations about family estrangement for students and researchers interested in autoethnography and qualitative inquiry, in a wide range of disciplines in the social sciences, healthcare, and communication studies.

With a triadic perspective, this autoethnographic narrative explores the temporal, situated nature of interactions between the author as an adoptee with her adult adopted children as well as those between herself and her birth father and mother. The epiphanic adoptive family narratives that are foregrounded seek to deepen and challenge understanding of how kinship affinities are experienced. The autoethnographic narratives are written in a critical, evocative style which is valuable for two reasons. Firstly, the processes of reflexive self-introspection, self-observation and dialogue with relational others have established a critical connection between recognising and responding to kinship affinities and personal growth. Secondly, lying at the intersection of the self and other this narrative contributes to deepening insights around epistemic in/justice in adoptive kinship. This book will be of interest to educators and scholars of adoption in offering an insider perspective on unique family relationships as well as how the author undertakes critical evocative autoethnography. Adoptees, adoptive parents, and birth parents will also find the narratives in Part II of this book of particular interest in informing an understanding of kin relationships and how these may be subject to change over time.

Unraveling: An Autoethnography of Suicide and Renewal is an autoethnographic story that explores the intricate relationship among trauma, marginality, and mental health. It follows Mike Alvarez, a precocious gay teenager from an immigrant Filipino family, who loses his grip on reality as he succumbs to so-called mental illness. Divided into two parts, the first half of the book uses evocative storytelling and in-the-moment narration to capture the slow descent into anxiety, paranoia, depression, and suicidality, as experienced by the author during young adulthood. The second half of the book critically reflects upon the story through a series of analytic chapters. In these chapters, the author considers the role of narrative in cultivating empathy for the mentally ill, the psychiatric-industrial complex’s obstruction of that empathy, and the moral dilemmas autoethnographers face when writing about self, other, and the social world. This book will be suitable for scholars in the social sciences, communication studies, and healthcare, who study and use autoethnography in their research. It will also be of value to those interested in firsthand accounts of madness, as told by members of marginalized communities.

What stories remain hidden behind one of the most significant inventions of the nineteenth century? Kaleidophonic Modernity reexamines the development of mechanical sound recording technology by charting the orbits of writers, scientists, and artists in France and the United States. Working between comparative literature, the history of science, and urban studies, Brehm builds a bridge between visual culture and sound studies. Kaleidophonic Modernity places the poet and inventor Charles Cros and his lover, the celebrated concert pianist and salonnière Nina de Villard at the heart of modern aesthetic and scientific vanguards. Cros's scientific endeavors ranged from color photography, to telecommunications, to mechanical sound reproducibility. In his poetry the Surrealists found an ancestor and inspiration. His literary and scientific works prove startling and relevant to predicaments of technological media in his own time and ours. For nearly twenty years Nina de Villard presided over a supremely daring intellectual salon. There, she welcomed manifold literary, artistic, and musical luminaries into a veritable crucible of the artistic avant-garde and precursor to the famous Chat Noir cabaret. Together, these two forgotten but pivotal figures, Cros and Villard, help reframe our thinking on Edgar Allan Poe, Charles Baudelaire, and Walt Whitman, icons of urban modernity who can now be seen and heard in a kaleidophonic light, one that offers a compelling new perspective on modern mediascapes. In elaborating this transatlantic phenomenon, Kaleidophonic Modernity illuminates the prehistory of the phonograph as it intersects with the aesthetics of sound reproducibility, Franco-American literary exchange, Poe’s aesthetic and intellectual legacy, the sounds of modern cities and technologies, and the genealogy of audiovisual experimentation found in such movements as Dada, Futurism, and the sound art of today.

The purpose of this book is to provide a clear and systematic account of the complexities of fictional narration which result from the shifting relationship in all storytelling between the story itself and the way it is told.

This collection highlights the experiences of an international group of educators as they explore the art of teaching, the philosophy of learning, and the tensions of working across socially constructed borders.

An Autoethnography of Letter Writing and Relationships Through Time: Finding Our Perfect Moon is about love letters, stories, and the ability of words to bring people together across time and physical space. Weaving together edited and annotated letters between a young couple in the 1930s with interludes of autoethnographic reflection, the book relates the author’s experiences as she has negotiated this project over 20 years. Reading the letters is a sepia-toned window into the very private world of two young, well-educated Jewish-American people who lived their lives against the backdrop of the Jazz Age, the Great Depression, and Prohibition. The author uses reflective autoethnographic interludes to tell the story of finding the letters and to explore the significance of letters as a communicative genre. Adams considers the ethical implications of being a researcher eavesdropping on private moments in others' lives, and she explores the function of dialogue in the development of the romantic relationship that unfolds in the letters and between the letters and her. The author also advocates for the everyday relational communication practices that collectively comprise life's most important experiences. Students and researchers interested in letter-writing, autoethnography, and relationship development will find relevance in this book. It will also be of value to those interested in letter collections, the ethical implications of intimate research on people from the past who cannot offer consent, the role of nostalgia in interpersonal communication, and anyone who thrills at a love story told from primary documents from the past.