Door Of No Return Analysis

Beyoncé Knowles’s Lemonade video album brings the words of Beyoncé into a visual media and shows the viewer a deeper meaning behind the album. After this video came out many articles came forward analyzing Lemonade. One article, in particular, that was intriguing is Bell Hooks “Moving Beyond Pain.” Hooks starts her article saying that the Lemonade video was created as a money-making, business strategy, but as the text continues the reader can conclude that “Moving Beyond Pain” is actually about African American women, and women in general, standing up for themselves.

“I am a black feminist… I recognize that my power as well as my primary obsessions come as a result of my blackness as well as my womaness, and therefore my struggles on both of these fronts are inseparable” … As a woman of color, I find that some feminists don’t seem terribly concerned with the issues unique to women of color—the ongoing effects of racism and post-colonialism, the status of women in the Third World, working against the trenchant archetypes black women are forced into (angry black woman, mammy, hottentot, and the like). (Gay 173).

Patriarchy’s Scapegoat: Black womanhood and femininity – A critique of racism, gender inequality, anti-blackness, and historical exploitation of black women.

Discussions of loving blackness in hooks’ class stems from her reading of Nelia Larson’s novel Passing. hooks wants to discuss Clare’s love of blackness and the consequence of her love for her race. She writes, “I asked the class to consider the possibility that to love blackness is dangerous in a white supremacist culture-so threatening, so serious a breach in the fabric of the social order, that death is the punishment” (9). Death in society can be literal, but it can also take other forms, such as isolation and self-segregation. hooks’ students’ stark refusal to discuss loving blackness is a testament to these impediments and how they have been fixed in the minds of citizens white and black.

Sitting on the porch with her sisters, hooks saw that “next to the white drivers in the front would be the dog and in the back seat the black worker.” This subtle image taught hooks the “interconnectedness of race and class,” and a demeaning message that white people placed animals ahead of African-Americans. Taking the high road, hooks attempted to spark conversation with her white neighbors; however, she was turned down and ridiculed. While trying to be friendly, hooks was told that “they came to this side of town to be rid of lazy blacks.” Time and time again racial and sexist tensions worked against Hooks, but instead of letting injustice get the best of her she made her porch a place of “antiracist resistance.” Hooks’ porch was an oasis in the male/white desert that dried up her life. On hooks’ porch she could experience the peace and joy she had as a child sitting on her porch with her sisters before her father came home. Hooks could have talked back to the white people that mocked her, but instead she chose the high road and conquered race with peace.

Patricia Hill Collins’ piece, “Defining Black Feminist Thought”, sets out to do exactly that: to determine what Black Feminism is, who is a Black Feminist, and who can become a Black Feminist. While not always specifically stated, her argument and analysis arises from the historical context of the role of Black women in feminist and activist spaces, as well as the social reality of differing lived experiences of Black women from traditional white female feminists. Created in 1990, Collins’ work is well situated in the time period of Third Wave Feminist thinking, incorporating strong themes of the need for intersectionality and alternate opinions within feminism, as well as proposing that multiple versions of feminism can be possible,

This feeling of rage is manifested from the experience of an overabundance of racism blacks face in their everyday lives. She defends the idea that rage, when correctly directed, can be a starting point for good. It can be a promoter for change. This essay is based on her experience aboard an airline with a close friend and the injustice treatment they receive based on the color of their skin. Her friend had been publicly attacked and accused of taking a first class seat that wasn’t assigned to her, although she was actually sitting in the correct seat. In her essay she states a compelling point, “…I feel that the vast majority of black folks who are subjected daily to forms of racial harassment have accepted this as one of the social conditions of our life in white supremacist patriarchy that we cannot change. This acceptance is a form of complicity.” (hooks, pg 10). She speaks on the complicity of blacks facing oppression and inequality. Killing rage is the creation of fierce anger blacks are felt after repeated instances of everyday racism. It is in this rage that healing can be fueled through love and strength. The incentive for a positive change can also be found through this powerful rage. bell hooks offers an intriguing response to this inequality, she believes that it is necessary to have rage to resist and not be complicit. She states that black activists that want progressive change need to

This denotation to the silent cries supports for an emotional appeal to an example of the silent cries in African American women. As stated in the title, Powell is aware that black women are merely being betrayed in the hip-hop industry and simply states that the choice of words that hip-hop artist chose to rap about is simply “the ghetto blues, urban folk art, a cry out for help.” (298) and it is rubbing off on almost every man in our American society and giving them a different perspective of women all because women refuse to speak out and speak up. “As a result, female rappers are often just as male-identified, violent, materialistic, and ignorant as their male peers.” (298). Over 100 years ago, women were not even allowed to vote, the closest they got to voting was sitting there and watching. They were not allowed to work, they were forced to be stay at home wives while their

bell hooks, renowned black feminist and cultural critic criticizes the lack of racial awareness in her essay, Representing Whiteness in the Black Imagination (1992). ‘bell hooks’ is written in lower case to convey that the substance of her work reigns more important than the writer. From a marginalized perspective, hooks argues that sites of dominance, not otherness is problematic and critiques the lack of attention that white scholars pay to the representation of whiteness in the black imagination. Critical feminist scholars Peggy McIntosh and Ruth Frankenberg identify their own whiteness as a dominant discourse, but share a critical departure from hooks with the notion of whiteness as terror. hooks aim is not to reverse racism, but discuss her position to authentically inform readers about how she experiences racism. Furthermore, systems of oppression are manufactured by human thought and thus the site of the Other is always produced as a site of difference. Gender, race, sex, class, disability, and geography are situated differently in social structure, but dominant groups assume they share the same reality though they cannot experience it. In consequence, the Other cannot hold a singularized identity of their own and the binary structure succeeds in containing racialized bodies in place. What happens to those bodies when they cross boundaries of the binary? hooks recounts being routinely disciplined back into place when crossing the border; however, dominant white

The essay The New Negro by Alain Locke’s defines what Locke believes to be the “Old Negro and the “New Negro. This paper will compare and contrasts Marcus Garvey The Future as I See it and Langston Hughes various poems on why Locke would have characterized them as either Old Negroes, New Negroes, or both. I believe Locke, Garvey , Hughes were determined to see Blacks succeed. Each writer expresses their idea in their own unique way, but they all wanted freedom, equality, and respect.

Whiteness is an integrative ideology that has transpired in North America throughout the late 20th century to contemporary society. It is a social construction that sustains itself as a dogma to social class and vindicates discrimination against non-whites.

The Objectification of Black Women “No other group in America has so had their identity socialized out of existence as have Black women… when Black people are talked about the focus tends to be on Black men; and when women are talked about the focus tends to be on white women.”

hooks feels that in our culture a white life has more value then a black one; and therefore audiences are more willing to accept the worthlessness of  black life.  hooks goes on to state, " There is collective cultural agreement that black death is inevitable, meaningless, not worth much.  That there is nothing to mourn" (100).  Americans as a whole " do not take black life seriously" (hooks, 100).  Through her review of Crooklyn, hooks is able to reinstate her idea: white America sees blacks as worthless.

Part II: Core Themes in Black Feminist Thought tackles five themes: 1) a legacy of struggle, 2) treatment of the interlocking nature of race, class, and gender, 3)

In an attempt to define Black Feminism, Collins clarifies that it must “avoid the idealist position that ideas can be evaluated in isolation from the groups that create them (Collins 385).” In reality, this forms her basis for why Black Feminism is necessary, and who it serves. Thinking about feminism historically, the concerns of black women were pushed aside in favor of fighting sexism, most notably during the Suffrage movement. And even when feminism began looking at other social injustices, such as racism and class issues, only prominent feminists were invited to the discussion. What resulted was, and often continues to be, a problem of white women speaking for oppressed people. It’s impossible, Collins argues, to have Black Feminist thought without examining the experiences and positions of African American women. Therefore, Black Feminism must be a movement that “encompasses theoretical interpretations of Black women’s reality by those who live in it (Collins 386).” However, such a definition brings about many questions: who’s experiences are valued, how do black women take their voice back, and how can they center feminist thinking on their own unique standpoint?