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Over the last two decades, women's issues such as education, employment, pay equity, sexuality, lifestyle, housing, economics, environmental safety, health, child‐rearing practices, reproductive rights, military service, and criminal justice have become a major focus of public policy at every level. There has been equal interest about women of various ethnic backgrounds, women in other countries, and women's writing. There have been burgeoning social and political demands for research, scholarship, and activism on women‐related topics. To meet these demands, universities and colleges started interdisciplinary women's studies programs. Sheila Tobias, a leading scholar in the field of women's studies, defines it this way:

This is a resource guide for librarians who wish to gather books and other materials to use in promoting National Women's History Week or, as it will be soon, National Women's History Month. The emphasis is on history rather than on current women's issues. Most of the materials cited have appeared within the past ten years, but a few important older works are included as well.

Since the 1970s, interest in African literature has grown considerably in English and comparative literature departments at American colleges and universities. African writings increasingly appear on multi‐disciplinary and multi‐cultural reading lists, exposing both high school and undergraduate students to such Anglophone and Francophone writers as Chinua Achebe, Wole Soyinka, Ngugi wa Thiong'o, and Ferdinand Oyono. Noticeably absent from this literary boom, however, was a female point of view. Nearly all of the writers read and discussed were male and these writers, in turn, created a picture of a male‐dominated society with women portrayed in the traditional roles of mothers and wives. In fiction, women characters were nearly always secondary to the major male protagonists. Some works, such as Elechi Amadi's novel, The Concubine, went so far as to openly disdain women. Critics also concentrated solely on male writers and examined the roles of women primarily from a male perspective. Even a dearth of female writers have added to this limited view. It was not until 1956 that Flora Nwapa published Efuru, the first African novel by a woman in English, and she was then dismissed as just another woman writing about women's issues.

The purpose of this paper is to present a collaborative (auto)ethnography that has emerged from the meeting of four academic researchers working with and from the heart in various Latin American contexts.

Our “I’s” have mingled with our very varied participations in different themes, latitudes, and disciplines – health, education and psychosocial approaches. We have worked, variously, in both English and Spanish. At the core of this piece are our own biographies, motivations, senses, academic dreams, international contexts, and the injustices and suffering felt in our bodies.

We seek to reflect from our experience of traveling as young researchers and as women with Latin souls. Through our stories, we show how crossing cultures as part of our research and work gives us both a privileged position but also the constant stress and questioning that goes beyond the intellectual and appears in our embodied experiences of interculturality.

The limitation of this piece of research is that it is based on personal experiences, that although there may be people who feel identified with these experiences, these are not generalizable or transferable.

Performative autoethnography is an instance to understand the world like a crisol with different faces; self, social, cultural and methodology, which allows us to understand the world from a holistic perspective.

With this paper, we hope to contribute for other women in academia to see themselves reflected in the experience of moving through a globalized world.

Through both living in and reflecting on this process, we show how our experiences provide us with new, intercultural “worlds under construction.”

Throughout its history feminism has produced “grey” literature. This material has played an important part in communicating women’s knowledge(s) and instigating activism. This paper considers the development of grey literature within feminism and its value to feminism, in brief. The key focus of the paper is in the potentials of the Internet as a communication mechanism and for feminist grey literature. Consideration is given to rapidly expanding forms of feminist grey literature on the Internet, and the potentials and concerns raised by this grey medium are discussed. Despite fears raised by some writers about the dangers and difficulties of cyberspace for women, overall this paper is optimistic about the potentials for feminist grey literature. Hence, it is suggested that grey literature on the Net offers global feminist sustenance; potential empowerment; and a means to challenge social inequalities.

Metal saved my life. It is not the first time and it probably will not be the last. The death of my mother when I was twenty-one meant that I was alone, and if it had not been for metal, my grieving process may have been the end of my story. The death, of course, is one thing, but mourning is something that surfaces many years after the event. If I had not bought my first guitar the year she died, the last nineteen years of my life would follow a very different narrative.

I firmly believe that metal and metal performance prevented my suicide and any plans for revenge. It matched my pain, sonically, texturally, musically and aesthetically. It initiated a cathartic process that I have returned to since, because it offers me emotional and psychological balance that other music forms do not. This may be a purely subjective engagement, but that is precisely the point.

Remembering this time in my life is not easy, and can often come in hesitations, blanks and painful memories. By using interpretive performance autoethnography, a methodology that Laurel Richardson calls CAP or creative analytic practice (Richardson, 2000, p. 929) means:

[it] allows the researcher to take up a person’s life in its immediate particularity and to ground the life in its historical moment. We move back and forth in time, using a version of Sartre’s progressive-regressive method. Interpretation works forward to the conclusion of a set of acts taken up by the subject while working back in time, interrogating the historical, cultural, and biographical conditions that moved the person to experience the events being studied

Through this methodological application, this paper seeks to analyse how metal and metal performance helped me write my trauma into a performing life that ultimately liberated me from my grief.