This chapter is a methodological rumination on a porous and cruisy genre of autotheoretical writing, which is subsequently illustrated in a constellation of scenes. Its fragmented form affords a capacious scenography of Berlin, one that is receptive to affective passage and emotional traffic; nurtures imaginal and hauntological dimensions of the field; and indulges critical intimacies with other times, other places. Thin, cruisy, queer is an illustration of how genres of memory and intimacy are attendant with modes of inter-subjective knowing in the field as much as such writing’s porous, non-linear and partial constitution helps trouble ethnographic habits around form, content and knowledge epistemes. Writing through affect is writing that takes us beyond capture or holding, to what lies in excess or exists beside, in-between and alongside, or to that what impinges on life obliquely or is given in the interface of inward and external modes, subjectively and piecemeal.