Challenging the critique of autoethnography as overly focused on the self, Tami Spry calls for a performative autoethnography that both unsettles the "I" and represents the Other with equal commitment. Expanding on her popular bookBody, Paper, Stage, Spry uses a variety of examples, literary forms, and theoretical traditions to reframe this research method as transgressive, liberatory, and decolonizing for both self and Other. Her book

• draws on her own autoethnographic work with jazz musicians, shamans, and other groups;
• outlines a utopian performative methodology to spur hope and transformation;
• provides concrete guidance on how to implement this innovative methodological approach.