ABSTRACT
This attempt to hold the individual and the institutional together through an autobiographical narrative should be seen both as a continuation of earlier modes of feminist performance - which emerged from the empowering conviction that "the personal is the political" - and as a renewed practice within the current collective academic project to construct feminist archives: to produce a retrospective that acknowledges the singularities of its subjects; not merely their positionalities. In other words, the subject of this autobiography is speaking not only as an "as a" - as a white, middle-class, heterosexual, New York, Jewish, type - but also as a bundle ofidiosyncratic bits that specify as they embody those tropes ofidentity.
