Soto employs the tools of reading “like a queer” to come to a nuanced understanding of Cherríe Moraga’s body of work, ultimately disrupting the notion that its grounding in personal experience can serve as evidence for intersectionality in queer theory. Soto’s project is significant because it moves us towards a critical understanding of how autobiography (and by other transgressive scholarly practices) functions as a political act in academic writing, as well as its pitfalls. Her opposition to the “personal is political” in academic writing stems not from an aversion to the formal transgression itself, but rather the implications of how we read it. She says, “The danger of the uncritical experience-as-evidence approach to difference is that
