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Born in Hopkinsville, Kentucky, on September 25, 1952, Gloria Jean Watkins is a writer, feminist theorist, teacher, poet, and cultural critic who continues to have a significant impact on feminist theories and cultural theory. She uses the lowercase pen name bell hooks, based on the names of her mother and grandmother, because “it is the substance of my books, not who is writing them, that is important.”

In particular, she has used the concept of what she calls “white supremacist capitalist patriarchy” to critique and critically address topics such as feminist writings, popular culture, cultural icons like Madonna, and socioglobal politics, to name only a few. She has contributed thought-provoking and challenging discussions that address race, class, and gender as interlocking systems of oppression.

Her first publication was a book of poems titled And There We Wept: Poems (1978). Subsequent publications include Ain't I a Woman?: Black Women and Feminism (1981); Feminist Theory: From Margin to Center (1984); Teaching to Transgress: Education as the Practice of Freedom (1994); Outlaw Culture: Resisting Representations (1994); and Reel to Real: Race, Sex and Class at the Movies (1996). Her work is read by a wide audience, enabling her to bring transformation and critical thinking beyond the world of academia.

Challenging Feminist Writers

hooks used Feminist Theory: From Margin to Center and other works to challenge white feminist writers to consider how race, class, and gender oppression was perceived from the perspective of black women. Given that many women of color do not have the option of staying home to raise their children, hooks posits that the meaning and practice of motherhood calls for a more critical analysis of how white supremacist capitalist patriarchy affects women differently.

In Bone Black: Memories of Girlhood (1996), hooks connects race, class, and gender in her narrative of the relationship between the character and her mother, highlighting how the construction of black mothers as disciplinarians and overly protective parents connects to a larger devaluing of black women. In this case, hooks advances the idea that black mothers internalize white supremacist assumptions about black women, thus directing their daughters not to act in accordance with what society expects of black women, and punishing them when they do.

Since the perceived white supremacist apparatus marks black women as meek, hypersexual, and lacking appropriate womanhood in fundamental ways, black daughters are often pressured to resist these attacks by performing in ways that challenge these stereotypes, yet constrain them in other ways. bell hooks describes the relationship between the daughter and mother as a mother who resists coddling her daughter in order to prepare her for the harsh world she will face as a black women. At the same time, this preparatory practice prevents emotional bonds that could be realized in their relationship.

  • feminist theory
  • women in black
  • race
  • feminism
  • feminist theories
  • white supremacism
DanielleAntoinette HidalgoUniversity of California, Santa Barbara

Bibliography

Collins, Patricia Hill. “The Meaning of Motherhood in Black Culture and Black Mother/Daughter Relationships.” In

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