This essay, written as narrative nonfiction, is the portion of an oral history interview with Kalyani Ray Chowdhury, who was born in 1929 in Chittagong (present-day Bangladesh), on what she recalls of her homeland in East Bengal. A few months prior to India's 1947 Partition into India and Pakistan by the British, Ray Chowdhury's family had been vacationing in the city of Patna. They were unable to travel back home to Mymensingh due to rising communal and political turmoil. When the Partition line was finally declared, they found themselves living life as refugees in Calcutta in West Bengal, while their home remained abandoned across the newly formed border in East Bengal. During the course of the interview, Ray Chowdhury also makes note of the nuanced distinctions in the culture and language of people from both sides of the Bengal border, and how conscious efforts had to be made on the part of her family to feel any sense of integration to their newly adopted home.

Nunalleq is a pre-contact Yup'ik village (1350–1660 CE) massacred during a centuries-long conflict known today as the Bow and Arrow Wars. As global temperatures fell during the Little Ice Age (1300–1800 CE), conflict intensified along the Yukon-Kuskokwim delta as food raids and village burnings became commonplace among warring Yup'ik communities. The following essay considers the events of Nunalleq alongside a new era of migration as Yup'ik prepare to move farther inland in response to human-induced climate change. Specifically, I reflect on the relationships between Yup'ik material culture and oral history, and how these histories adapt over time. This writing is an experimental ethnography based in archaeological excavation and participant observation. This writing is oral history. This writing should be read aloud.

This essay deploys a disruptive moment of giving up tenure to rethink silence and voice in the context of institutional whiteness from the standpoint of a racialized Asian/immigrant/woman faculty. I narrate moments during my first tenure-track years weathering the quiet and invisible storms of whiteness at a historically white institution in the Midwestern United States. In (re)writing my story, I (re)orient my identity as an immigrant Other in US academia, reclaiming my family's oral history to inform my ways of speaking in/with comforting silence. I conclude with a discussion of racialized acts of speaking (up) as an interactive rather than singular moment.

A third wave feminist approach to feminist oral history, this research essay blends both the visual and the oral as text. We critique a feminist artist's art along with her words so that her representation can be seen and heard. Focusing on three art pieces, we analyze the artist's body to conceptualize agentic ways to understand the meanings of feminist art and feminist oral history. We offer a third wave feminist approach to feminist oral history as method so that feminists can consider adaptive means for recording oral histories and challenging dominant symbolic order.