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She weaves together multiple voices, methods of writing, and culturally diverse epistemologies and uses creative devices such as collage, her own original poetry, revision, lists, images, and conversation to disengage academic thought and writing from colonial theories and archives that have passed as neutral. Eschewing conventional monograph formats, her work embraces a reciprocal and heterogeneous learning process with profound ethical implications.    Part of a movement of reimagining research and education through care, Quiet Methodologies is a powerful exploration of the possibilities of criticism during crises. 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She weaves together multiple voices, methods of writing, and culturally diverse epistemologies and uses creative devices such as collage, her own original poetry, revision, lists, images, and conversation to disengage academic thought and writing from colonial theories and archives that have passed as neutral. Eschewing conventional monograph formats, her work embraces a reciprocal and heterogeneous learning process with profound ethical implications.    Part of a movement of reimagining research and education through care, Quiet Methodologies is a powerful exploration of the possibilities of criticism during crises. It encourages readers to be visionary and pragmatic, challenging current conditions and offering alternative ideas for the future of the humanities.   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The works of Gloria Anzaldúa, Cherríe Moraga, and Ana Castillo, in particular, enable us to examine how identities shift and intersect with others through processes of \"incarnation.\" Since the 1980s, critics have come to equate these writers with Chicana feminist identity politics. This critical trend, however, has been unable to account for these writers' increasing emphasis on bodies that are sick, disabled, permeable, and, oftentimes, mystical.  Encarnación thus turns our attention to aspects of these writers' work that are usually ignored—Anzaldúa's autobiographical writings about diabetes, Moraga's narrative about her premature baby's medical treatments, and Castillo's figure of a polio-afflicted flamenco dancer—to explore the political and cultural dimensions of illness.  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