Mama Lola is also an important experiment in feminist ethnographic writing designed to address current questions in the field. Brown begins with the assumption that ethnography is not so much a science as a social art form rooted in human relationships, and as such it is open to moral and aesthetic questions as well as to those more routinely addressed to it. Weaving several of her own voices—analytic, descriptive, and personal—with the voices of her subjects in alternate chapters of straightforward ethnography and ethnographic fiction, Brown presents herself as a character in Mama Lola's world and allows the reader to evaluate her interactions there. Mama Lola's story thus rises from a chorus of equally authoritative voices.