This collection of essays describes the position of a multi-hyphenated subject whose liminal and shifting existence should be used to disrupt and exceed existing ideology. The essays revolve around film theory, feminism, and Third World artists and critics. In the first section of essays, Trinh critiques the tradition of documentary and its deceptive practices. She argues that documentaries about Third World countries exist to propagate a first-world, subjective truth. The film positions the documenters against the interviewees, creating a power dynamic in which the latter are made to depend on the former in order for their voices heard. Often, orientalism and patriarchy appear obscured in documentaries even while continuing to operate. In the second section of essays, Trinh questions other theorists and artists for confining the multi-hyphenated subject to certain categories. However, she also conceptualizes an interstitial space in which feminists of color can produce theory and criticism that questions traditional gender and race politics. She posits that subjects in this interstitial space should be able to produce new modes of thinking without recirculating previous positions of power. It is in this space that the Third World critic is simultaneously part of the culture and an outside observer of the culture. The critic in this space now must be able to produce new representations of ideology without falling on hegemonic ones. However, Trinh's own work must answer the same question of how one can create without circulating dominant ideology. In the third section of essays, she advocates for a non-binary opposition of politics against dominant ideology. Trinh warns the reader to "solicit and sharpen awareness of how ideological patriarchy and hegemony work," especially when as some artifacts still remain even with new representations of ideology. In "Woman, Native, Other" Trinh focuses her work on oral tradition – family, herself, and her culture. In this approach Trinh asserts a people's theory that is more inclusive. This method opened up an avenue for women of color to critique theory while creating new ways of "knowing" that is different than standard academic theory. Trinh proposes to the reader to unlearn received knowledge and ways of structuring reality. In Chapter 1 she explores questions of language, writing, and oral tradition. She suggests being critical against "well-written," and knowing the difference between a "written-woman" and a "writing-woman.42" In the second chapter Trinh repudiates Western and male constructions of knowledge through anthropology. She argues that anthropology is the root of western male hegemonic ideology that attempts to create a discourse of human truth.