How does the structure of alternating chapters of fictionalized history and ethnography contribute to our understanding of vodou, Mama Lola, and

How does the structure of alternating chapters of fictionalized history and ethnography contribute to our understanding of vodou, Mama Lola, and Karen McCarthy Brown’s interaction with this Haitian American family? Reading across the chapters of “history” and ethnography, how can we see vodou as empowering for women?