bell hooks

Through her interest in Beat poetry and after an encounter with the poet and Buddhist Gary Snyder, hooks was introduced to Buddhism in her early college years. She described herself as finding Buddhism as part of a personal journey in her youth, centered on seeking to recenter love and spirituality in her life and configure these concepts into her focus on activism and justice. After her initial exposure to Buddhism, hooks incorporated it into her Christian upbringing and this combined Christian-Buddhist thought influenced her identity, activism, and writing for the remainder of her life. She was drawn to Buddhism because of the personal and academic framework it offered her to understand and respond to suffering and discrimination as well as love and connection. She describes the Christian-Buddhist focus on everyday practice as fulfilling the centering and grounding needs of her everyday life. Buddhist thought, especially the work of Thích Nhất Hạnh, appears in many of hooks' essays, books, and poetry. Buddhist spirituality also played a significant role in the creation of love ethic which became a major focus in both her written work and her activism.

Happy to Be Nappy. Chris Raschka (illustrator). Little, Brown Books for Young Readers. 1990. ISBN 978-0-7868-2377-2. Homemade Love. New York: Hyperion Books for Children. 2002. ISBN 978-0786825530. Be boy buzz. New York: Hyperion Books for Children. 2002. ISBN 978-0786816439. Skin Again. Chris Raschka (illustrator). New York: Hyperion Books for Children. 2004. ISBN 978-0-7868-0825-0. Grump Groan Growl. Chris Raschka (illustrator). Little, Brown Books for Young Readers. 2008. ISBN 978-0-7868-0816-8.

Black is... Black Ain't (1994) Give a Damn Again (1995) Cultural Criticism and Transformation (1997) My Feminism (1997) Voices of Power (1999) BaadAsssss Cinema (2002) I Am a Man: Black Masculinity in America (2004) Happy to Be Nappy and Other Stories of Me (2004) Is Feminism Dead? (2004) Fierce Light: When Spirit Meets Action (2008) Occupy Love (2012) Hillbilly (2018)

She began her academic career in 1976 as an English professor and senior lecturer in ethnic studies at the University of Southern California. During her three years there, Golemics, a Los Angeles publisher, released her first published work, a chapbook of poems titled And There We Wept (1978), written under the name "bell hooks". She had adopted her maternal great-grandmother's name as her pen name because, as she later put it, her great-grandmother "was known for her snappy and bold tongue, which [she] greatly admired". She also said she put the name in lowercase letters to convey that what is most important to focus upon is her works, not her personal qualities: the "substance of books, not who [she is]". On the unconventional lowercasing of her pen name, hooks added that, "When the feminist movement was at its zenith in the late '60s and early '70s, there was a lot of moving away from the idea of the person. It was: Let's talk about the ideas behind the work, and the people matter less... It was kind of a gimmicky thing, but lots of feminist women were doing it." In the early 1980s and 1990s, hooks taught at several post-secondary institutions, including the University of California, Santa Cruz, San Francisco State University, Yale (1985 to 1988, as assistant professor of African and Afro-American studies and English), Oberlin College (1988 to 1994, as associate professor of American literature and women's studies), and, beginning in 1994, as distinguished professor of English at City College of New York. South End Press published her first major work, Ain't I a Woman? Black Women and Feminism, in 1981, though she had started writing it years earlier at the age of 19, while still an undergraduate. In the decades since its publication, Ain't I a Woman? has been recognized for its contribution to feminist thought, with Publishers Weekly in 1992 naming it "one of the twenty most influential women's books in the last 20 years". Writing in The New York Times in 2019, Min Jin Lee said that Ain't I a Woman "remains a radical and relevant work of political theory. She lays the groundwork of her feminist theory by giving historical evidence of the specific sexism that black female slaves endured and how that legacy affects black womanhood today." Ain't I a Woman? examines themes including the historical impact of sexism and racism on black women, devaluation of black womanhood, media roles and portrayal, the education system, the idea of a White-supremacist-capitalist-patriarchy and the marginalization of black women. At the same time, hooks became significant as a leftist and postmodern political thinker and cultural critic. She published more than 30 books, ranging in topics from Black men, patriarchy, and masculinity to self-help; engaged pedagogy to personal memoirs; and sexuality (in regards to feminism and politics of aesthetics and visual culture). Reel to Real: race, sex, and class at the movies (1996) collects film essays, reviews, and interviews with film directors. In The New Yorker, Hua Hsu said these interviews displayed the facet of hooks' work that was "curious, empathetic, searching for comrades". In Feminist Theory: From Margin to Center (1984), hooks develops a critique of White feminist racism in second-wave feminism, which she argued undermined the possibility of feminist solidarity across racial lines. As hooks argued, communication and literacy (the ability to read, write, and think critically) are necessary for the feminist movement because without them people may not grow to recognize gender inequalities in society. In Teaching to Transgress (1994), hooks attempts a new approach to education for minority students. Particularly, hooks strives to make scholarship on theory accessible to "be read and understood across different class boundaries". In 2002, hooks gave a commencement speech at Southwestern University. Eschewing the congratulatory mode of traditional commencement speeches, she spoke against what she saw as government-sanctioned violence and oppression, and admonished students who she believed went along with such practices. The Austin Chronicle reported that many in the audience booed the speech, though "several graduates passed over the provost to shake her hand or give her a hug". In 2004, she joined Berea College as Distinguished Professor in Residence. Her 2008 book, belonging: a culture of place, includes an interview with author Wendell Berry as well as a discussion of her move back to Kentucky. She was a scholar in residence at The New School on three occasions, the last time in 2014. Also in 2014, the bell hooks Institute was founded at Berea College; in 2017 she donated her papers to the college. During her time at Berea College, hooks founded the bell hooks center along with professor Dr. M. Shadee Malaklou. The center was established to provide underrepresented students, especially Black and brown, femme, queer, and Appalachian individuals at Berea College, a safe space where they can develop their activist expression, education, and work. The center cites hooks' work and her emphasis on the importance of feminism and love as the inspiration and guiding principles of the education it offers. The center offers events and programming with an emphasis on radical feminist and anti-racist thought. She was often critical of the films of Spike Lee. In her essay, "Spike Lee Doing Malcolm X: Denying Black Pain", hooks argues that Lee's "film does not compel viewers to confront, challenge, and change. It embraces and rewards passive response - inaction. It encourages us to weep, but not to fight." She saw Lee as an "insider" to the film industry, making a film for predominantly White audiences that followed the conventions of "other Hollywood epic... fictive biographies". She described the first half of the film as being half "neo-minstrel spectacle" and half "tragic"; criticised the portrayal of Malcolm's relationship with Sophia as having the "same shallowness of vision" as Lee's other filmic portrayals of interracial relationships; and disavowed Denzel Washington's potential to escape his reputation as "everybody's nice guy", meaning that he could never portray Malcolm's "'threatening' physical presence". All of which made Malcolm "appear less militant, more open". In her reading of the film, Lee is "primarily fascinated by Malcolm's fierce critique of White racism" and his early view of racism as "a masculinist phallocentric struggle for power between White men and Black men". Thus, the film missed Malcolm's later politics in which he had a "critique of racism in conjunction with imperialism and colonialism" and the film "certainly" did not contain Malcolm's "critique of capitalism". She also said that Lee wrote Black women in the same objectifying way that White male filmmakers write the characters of White women. She also criticized the documentary Paris Is Burning for depicting the ritual of the balls as a spectacle to "pleasure" White spectators. She was inducted into the Kentucky Writers Hall of Fame in 2018. In 2020, during the George Floyd protests, there was a resurgence of interest in hooks' work on racism, feminism, and capitalism.

Yearning: Race, Gender, and Cultural Politics: The American Book Awards / Before Columbus Foundation Award (1991) bell hooks: The Writer's Award from the Lila Wallace–Reader's Digest Fund (1994) Happy to Be Nappy: NAACP Image Award nominee (2001) Homemade Love: The Bank Street College Children's Book of the Year (2002) Salvation: Black People and Love: Hurston/Wright Legacy Award nominee (2002) bell hooks: Utne Reader's "100 Visionaries Who Could Change Your Life" bell hooks: The Atlantic Monthly's "One of our nation's leading public intellectuals" bell hooks: Time 100 Women of the Year, 2020