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| bell hooks writing autobiography: Talking Back Bell Hooks, 1989 bell hooks writes about the meaning of feminist consciousness in daily life and about self-recovery, about overcoming white and male supremacy, and about intimate relationships, exploring the point where the public and private meet. |
| bell hooks writing autobiography: remembered rapture bell hooks, 1999-01-11 Drawing on her experiences as a professor of English and the author of sixteen highly acclaimed books, critic bell hooks presents an insightful collection of essays on the process and politics of writing. Centrally, many of the essays raise provocative questions about the feminist movement and women's writing--the kinds of voices women have established in the wake of the demand for more writing by women, the politics of confession and the type of standards being set for women writers by critics. Several essays explore hooks's personal relationship to publishing, explaining the impact success has had on her work as she highlights her movement from writing in relative isolation to writing in New York City amidst the publishing industry, in a world full of writers. Other essays focus on the dearth of nonfiction writing by Black women, contrasting that with the rise in their published fiction. More general essays focus on writing as healing, raising issues about the function of writing; the extent to which readers inspire writers; and how race, ger, and class can determine one's relationship to words. Remembered Rapture offers a fresh and lively discussion of living with words. |
| bell hooks writing autobiography: Wounds of Passion Bell Hooks, 1998 In this, Bell Hook's second volume of memoirs, she describes her arrival at Stanford University, just as the birth control pill is revolutionizing and challenging women's expectations. There she begins to explore her sexuality and her lifes goals. |
| bell hooks writing autobiography: Writing Beyond Race bell hooks, 2013 What are the conditions needed for our nation to bridge cultural and racial divides? By writing beyond race, noted cultural critic bell hooks models the constructive ways scholars, activists, and readers can challenge and change systems of domination. In the spirit of previous classics like Outlaw Culture and Reel to Real, this new collection of compelling essays interrogates contemporary cultural notions of race, gender, and class. From the films Precious and Crash to recent biographies of Malcolm X and Henrietta Lacks, hooks offers provocative insights into the way race is being talked about in this post-racial era. |
| bell hooks writing autobiography: Women, Autobiography, Theory Sidonie Smith, Julia Watson, 1998 The first comprehensive guide to the burgeoning field of women's autobiography. Essays from 39 prominent critics and writers explore narratives across the centuries and from around the globe. A list of more than 200 women's autobiographies and a comprehensive bibliography provide invaluable information for scholars, teachers, and readers. |
| bell hooks writing autobiography: Bone Black bell hooks, 2024-09-19 One of bell hooks' foundational works introduced to the UK for the first time. 'With the emotion of poetry, the narrative of a novel, and the truth of experience, bell hooks weaves a girlhood memoir you won't be able to put down―or forget. Bone Black takes us into the cave of self-creation' Gloria Steinem Stitching together the threads of her girlhood memories, bell hooks shows us one strong-spirited child's journey toward becoming the pioneering writer we know. Along the way, hooks sheds light on the vulnerability of children, the special unfurling of female creativity and the imbalance of a society that confers marriage's joys upon men and its silences on women. In a world where daughters and fathers are strangers under the same roof, and crying children are often given something to cry about, hooks uncovers the solace to be found in solitude, the comfort to be had in the good company of books. Bone Black allows us to bear witness to the awakening of a legendary author's awareness that writing is her most vital breath. |
| bell hooks writing autobiography: Talking Back bell hooks, 2014-10-10 In childhood, bell hooks was taught that talking back meant speaking as an equal to an authority figure and daring to disagree and/or have an opinion. In this collection of personal and theoretical essays, hooks reflects on her signature issues of racism and feminism, politics and pedagogy. Among her discoveries is that moving from silence into speech is for the oppressed, the colonized, the exploited, and those who stand and struggle side by side, a gesture of defiance that heals, making new life and new growth possible. |
| bell hooks writing autobiography: Black Women Writing Autobiography Joanne M. Braxton, 1989 As black American women, we are born into a mystic sisterhood, and we live our lives within a magic circle, a realm of shared language, reference, and allusion within the veil of our blackness and our femaleness. We have been as invisible to the dominant culture as rain; we have been knowers, but we have not been known. Joanne Braxton argues for a redefinition of the genre of black American autobiography to include the images of women as well as their memoirs, reminiscences, diaries, and journals—as a corrective to both black and feminist literary criticism. Beginning with slave narratives and concluding with modern autobiography, she deals with individual works as representing stages in a continuum and situates these works in the context of other writings by both black and white writers. Braxton demonstrates that the criteria used to define the slave narrative genre are inadequate for analyzing Harriet Linda Brent Jacobs's pseudonymously publishedIncidents in the Life of a Slave Girl: Written by Herself(1861). She examines sass as a mode of women's discourse and a weapon of self-defense, and she introduces the outraged mother as a parallel to the articulate hero archetype. Not even emancipation authorized black women to define themselves or address an audience. Late-nineteenth-century accounts in the form of confessional spiritual autobiographies, travelogue/adventure stories, and slave memoirs enabled such women as Jarena Lee, Rebecca Cox Jackson, Elizabeth Keckley, Susie King Taylor, as well as Harriet Tubman and Sojourner Truth to tell their own extraordinary stories and to shed light on the thousands of lives obscured by illiteracy and sexual and racial oppression. In her diaries, Charlotte Forten Grimké, the gifted poet, epitomizes the problems faced by a well-educated, extremely articulate black woman attempting to find a public voice in America. Moving into the twentieth century, Braxton analyzes the memoir of Ida B. Wells, journalist and anti-lynching activist, and the work of Zora Neale Hurston and Era Bell Thompson. They represent the first generation of black female autobiographers who did not continually come into contact with former slaves and who transcended the essential struggle for survival that occupied earlier writings. For the contemporary black woman autobiographer, the quest for personal fulfillment is the central theme. Braxton concludes with Maya Angelou'sI Know Why the Caged Bird Sings(1996), which represents the black woman of the 1960s who has found the place to recreate the self in her own image—the place all the others had been searching for. Author note:Joanne M. Braxtonis Cummings Professor of American Studies and English at the College of William and Mary and author ofSometimes I think of Maryland, a collection of poems. |
| bell hooks writing autobiography: Autobiography and Black Identity Politics Kenneth Mostern, 1999-06-13 Why has autobiography been central to African American political speech throughout the twentieth century? What is it about the racialization process that persistently places African Americans in the position of speaking from personal experience? In Autobiography and Black Identity Politics: Racialization in Twentieth-Century America, Kenneth Mostern illustrates the relationship between narrative and racial categories such as 'colored', 'Negro', 'black' or 'African American' in the work of writers such as W. E. B. Du Bois, Zora Neale Hurston, Malcom X, Martin Luther King, Paul Robeson, Angela Davis and bell hooks. Mostern shows how these autobiographical narratives attempt to construct and transform the political meanings of blackness. The relationship between a black masculine identity that emerged during the 1960s, and the counter-movement of black feminism since the 1970s, is also discussed. This wide-ranging study will interest all those working in African American studies, cultural studies and literary theory. |
| bell hooks writing autobiography: Art on My Mind bell hooks, 2025-05-27 The canonical work of cultural criticism by the “profoundly influential critic” (Artnet), in a beautiful thirtieth-anniversary edition, featuring a new foreword by esteemed visual artist Mickalene Thomas “Sharp and persuasive.” —The New York Times Book Review on the original publication of Art on My Mind In Art on My Mind, “one of the country’s most influential feminist thinkers“ (Artforum) offers a tender yet potent suite of writings for a world increasingly concerned with art and identity politics. This collection of bell hooks’s essays, each with art at its center, explores both the obvious and obscure: from ruminations on the fraught representation of Black bodies, to reflections on the creative processes of women artists, to analysis of the use of blood in visual art. bell hooks has been “instrumental in cracking open the white, western canon for Black artists” (Artnet), with searing essays complemented by conversations with Carrie Mae Weems, Emma Amos, Margo Humphrey, and LaVerne Wells-Bowie. Featuring full-color artwork from giants such as Jean-Michel Basquiat, Lorna Simpson, and Alison Saar, Art on My Mind “examines the way race, sex and class shape who makes art, how it sells and who values it” (The New York Times), while questioning how art can be instrumental for Black liberation. In doing so, hooks urges us to unravel the forces of oppression that colonize our imaginations. With a new foreword from acclaimed contemporary artist Mickalene Thomas, this thirtieth-anniversary edition passes the torch to a new generation of artists, capturing hooks’s simple yet evergreen affirmation: art matters—it is a life force in the struggle for freedom. Art on My Mind is essential reading for anyone looking to find lessons on liberation and creativity in the world of color—the free world of art. |
| bell hooks writing autobiography: All about Love Bell Hooks, 2000 Breakthrough courses are aimed at adult education classes and also at the self-study learner. Each course offers authentic, lively, conversational language through a coherent and carefully structured approach. The books are in full colour with attractive photographs and artwork giving a real sense of the country and its culture. There are four hours of audio material to accompany this course available in cassette and audio CD format. The new edition has been brought up to date with the inclusion of the Euro, and there is also a comprehensive companion website offering both teacher and student a wealth of extra resources including on line multi-choice exercises. |
| bell hooks writing autobiography: Where We Stand bell hooks, 2012-10-02 Drawing on both her roots in Kentucky and her adventures with Manhattan Coop boards, Where We Stand is a successful black woman's reflection--personal, straight forward, and rigorously honest--on how our dilemmas of class and race are intertwined, and how we can find ways to think beyond them. |
| bell hooks writing autobiography: Autotheory as Feminist Practice in Art, Writing, and Criticism Lauren Fournier, 2021-02-23 Autotheory--the commingling of theory and philosophy with autobiography--as a mode of critical artistic practice indebted to feminist writing and activism. In the 2010s, the term autotheory began to trend in literary spheres, where it was used to describe books in which memoir and autobiography fused with theory and philosophy. In this book, Lauren Fournier extends the meaning of the term, applying it to other disciplines and practices. Fournier provides a long-awaited account of autotheory, situating it as a mode of contemporary, post-1960s artistic practice that is indebted to feminist writing, art, and activism. Investigating a series of works by writers and artists including Chris Kraus and Adrian Piper, she considers the politics, aesthetics, and ethics of autotheory. |
| bell hooks writing autobiography: The Will to Change bell hooks, 2004-01-06 From New York Times bestselling author, feminist pioneer, and cultural icon bell hooks, a timelessly necessary treatise on how patriarchy and toxic masculinity hurts us all. Feminist writing did not tell us about the deep inner misery of men. Everyone needs to love and be loved—including men. But to know love, men must be able to look at the ways in which patriarchal culture keeps them from understanding themselves. In The Will to Change, bell hooks provides a compassionate guide for men of all ages and identities to understand how to be in touch with their feelings, and how to express versus repress the emotions that are a fundamental part of who we are. With trademark candor and fierce intelligence, hooks addresses the most common concerns of men, such as fear of intimacy and loss of their patriarchal place in society, in new and challenging ways. The Will to Change “creates space for men to acknowledge their traumas and heal—not only for their sake, but for the sake of everyone in their lives” (BuzzFeed). |
| bell hooks writing autobiography: Killing Rage Bell Hooks, 1996 A collection of 23 essays which address race and racism in American society, the majority of which are new, but also including important essays from the past twenty years. Covers such topics as the psychological trauma of racism, anti-Semitism and the internalised racism of the media. First published in the USA. |
| bell hooks writing autobiography: The Sound of Our Steps Ronit Matalon, 2015-08-04 Gorgeously observed and emotionally powerful, The Sound of Our Steps is an inventive novel of immigration and exile from Ronit Matalon, a major voice in contemporary Israeli fiction In the beginning there was Lucette, who is the mother to three children—Sammy, a gentle giant, almost blind, but a genius with locks; Corinne, a flighty beauty who cannot keep a job; and the child, an afterthought, who strives to make sense of her fractured Egyptian-Jewish immigrant family. Lucette's children would like a kinder, warmer home, but what they have is a government-issued concrete box, out in the thorns and sand on the outskirts of Tel Aviv; and their mother, hard-worn and hardscrabble, who cleans homes by night and makes school lunches by day. Lucette quarrels with everybody, speaks only Arabic and French, is scared only of snakes, and is as likely to lock her children out as to take in a stray dog. The child recounts her years in Lucette's house, where Israel's wars do not intrude and hold no interest. She puzzles at the mysteries of her home, why Maurice, her father, a bitter revolutionary, makes only rare appearances. And why her mother rebuffs the kind rabbi whose home she cleans in his desire to adopt her. Always watching, the child comes to fill the holes with conjecture and story. In a masterful accumulation of short, dense scenes, by turns sensual, violent, and darkly humorous, The Sound of Our Steps questions the virtue of a family bound only by necessity, and suggests that displacement may not lead to a better life, but perhaps to art. |
| bell hooks writing autobiography: Ain't I a Woman bell hooks, 2014-12-17 A classic work of feminist scholarship, Ain't I a Woman has become a must-read for all those interested in the nature of black womanhood. Examining the impact of sexism on black women during slavery, the devaluation of black womanhood, black male sexism, racism among feminists, and the black woman's involvement with feminism, hooks attempts to move us beyond racist and sexist assumptions. The result is nothing short of groundbreaking, giving this book a critical place on every feminist scholar's bookshelf. |
| bell hooks writing autobiography: Lifting as They Climb Toni Pressley-Sanon, 2024-02-13 The lives and writings of six leading Black Buddhist women—Jan Willis, bell hooks, Zenju Earthlyn Manuel, angel Kyodo williams, Spring Washam, and Faith Adiele—reveal new expressions of Buddhism rooted in ancestry, love, and collective liberation. Lifting as They Climb is a love letter of freedom and self-expression from six Black women Buddhist teachers, conveyed through the voice of author Toni Pressley-Sanon, one of the innumerable people who have benefitted from their wisdom. She explores their remarkable lives and undertakes deep readings of their work, weaving them into the broader tapestry of the African diaspora and the historical struggle for Black liberation. Black women in the U.S. have adapted Buddhist practice to meet challenges ranging from the injustices of the Jim Crow South to sexual violence, social discrimination, and bias within their Buddhist communities. Using their voices through the practice of memoir and other forms of writing, they have not only realized their own liberation but carried forward the Black tradition of leading others on the path toward collective awakening. |
| bell hooks writing autobiography: Academic Lives Cynthia G. Franklin, 2012-03 Since the early 1990s, there has been a proliferation of memoirs by tenured humanities professors. Although the memoir form has been discussed within the flourishing field of life writing, academic memoirs have received little critical scrutiny. Based on close readings of memoirs by such academics as Michael Bérubé, Cathy N. Davidson, Jane Gallop, bell hooks, Edward Said, Eve Sedgwick, Jane Tompkins, and Marianna Torgovnick, Academic Lives considers why so many professors write memoirs and what cultural capital they carry. Cynthia G. Franklin finds that academic memoirs provide unparalleled ways to unmask the workings of the academy at a time when it is dealing with a range of crises, including attacks on intellectual freedom, discontentment with the academic star system, and budget cuts. Franklin considers how academic memoirs have engaged with a core of defining concerns in the humanities: identity politics and the development of whiteness studies in the 1990s; the impact of postcolonial studies; feminism and concurrent anxieties about pedagogy; and disability studies and the struggle to bring together discourses on the humanities and human rights. The turn back toward humanism that Franklin finds in some academic memoirs is surreptitious or frankly nostalgic; others, however, posit a wide-ranging humanism that seeks to create space for advocacy in the academic and other institutions in which we are all unequally located. These memoirs are harbingers for the critical turn to explore interrelations among humanism, the humanities, and human rights struggles. |
| bell hooks writing autobiography: Life/Lines Bella Brodzki, Celeste Schenck, 2019-05-15 Autobiography raises a vital issue in feminist critical theory today: the imperative need to situate the female subject. Life/Lines, a collection of essays on women's autobiography, attempts to meet this need. |
| bell hooks writing autobiography: When Angels Speak of Love bell hooks, 2007-02-06 Feminist icon bell hooks reminds us of the full spectrum of feeling we spend in love through her inspiring collection of love poetry, with a new introduction by Cole Arthur Riley, author of Black Liturgies. Written from the heart, When Angels Speak of Love is a book of fifty love poems by bell hooks, one our most beloved public intellectuals, and author of over twenty books, including the bestselling All About Love. Poem after poem, hooks challenges our views and experiences with love—tracing the links between seduction and surrender, the intensity of desire, and the anguish of death. “Love must clean house, choose memories to keep, and memories to let go,” she writes. These verses are expansive yet accessible—encompassing romantic love, to love of family, friends, or oneself. In any iteration, these poems remind us of both the beauty and possibility of love. |
| bell hooks writing autobiography: Black Looks bell hooks, 2015 In the critical essays collected in Black Looks, bell hooks interrogates old narratives and argues for alternative ways to look at blackness, black subjectivity, and whiteness. Her focus is on spectatorship--in particular, the way blackness and black people are experienced in literature, music, television, and especially film--and her aim is to create a radical intervention into the way we talk about race and representation. As she describes: the essays in Black Looks are meant to challenge and unsettle, to disrupt and subvert. As students, scholars, activists, intellectuals, and any other readers who have engaged with the book since its original release in 1992 can attest, that's exactly what these pieces do. |
| bell hooks writing autobiography: Teaching Life Writing Orly Lael Netzer, Amanda Spallacci, 2024-07-05 Teaching Life Writing: Theory, Methodology, and Practice combines research in life writing and pedagogy to examine the role of life stories in diverse learning contexts, disciplines, and global settings. While life stories are increasingly integrated into curricula, their incorporation raises the risk of reducing them to mere historical evidence. Recognizing the importance of teaching life stories in a manner that goes beyond a surface understanding, life-writing scholars have been consistently exploring innovative pedagogical practices to engage with these stories in ways that encourage dynamic and nuanced conversations about identity, agency, authenticity, memory, and truth, as well as the potential of these narratives to instigate social change. This book assembles contributions from a diverse group of international educators, weaving together life writing research, critical reflection, and concrete pedagogical strategies. The chapters are organized around three overarching conversations: the materials, practices, and mediations involved in teaching life writing within the context of contemporary social change. The unique perspectives presented in this collection provide educators with valuable insights into effectively incorporating life stories into their teaching practices. Featuring works by over a dozen educators, the volume interlaces life writing research, critical reflection, and tangible pedagogical practices. The chapters in this book were originally published as a special issue of a/b: Auto/Biography Studies. |
| bell hooks writing autobiography: American Lives Robert F. Sayre, 1994 American Lives is a groundbreaking book, the first historically organized anthology of American autobiographical writing, bringing us fifty-five voices from throughout the nation's history, from Abigail Adams, Abraham Lincoln, Jonathan Edwards, and Richard Wright to Quaker preacher Elizabeth Ashbridge, con man Stephen Burroughs, and circus impresario P.T. Barnum. Representing canonical and non-canonical writers, slaves and slave-owners, generals and conscientious objectors, scientists, immigrants, and Native Americans, the pieces in this collection make up a rich gathering of American songs of ourselves. Robert F. Sayre frames the selections with an overview of theory and criticism of autobiography and with commentary on the relation between history and many kinds of autobiographical texts--travel narratives, stories of captivity, diaries of sexual liberation, religious conversions, accounts of political disillusionment, and discoveries of ethnic identity. With each selection Sayre also includes an extensive headnote providing valuable critical and biographical information. A scholarly and popular landmark, American Lives is a book for general readers and for teachers, students, and every American scholar. |
| bell hooks writing autobiography: Life Outside My Comfort Zone: Hup draak! Susan Zhang, 2019-04-14 From China to Australia, from international student to global knowledge worker, from restaurant to Google, from C++ programmer to book author, from Burning Man to Antarctica, this book revealed those untold stories while living outside comfort zone. |
| bell hooks writing autobiography: I Know Why the Caged Bird Sings Maya Angelou, 2010-07-21 Here is a book as joyous and painful, as mysterious and memorable, as childhood itself. I Know Why the Caged Bird Sings captures the longing of lonely children, the brute insult of bigotry, and the wonder of words that can make the world right. Maya Angelou’s debut memoir is a modern American classic beloved worldwide. Sent by their mother to live with their devout, self-sufficient grandmother in a small Southern town, Maya and her brother, Bailey, endure the ache of abandonment and the prejudice of the local “powhitetrash.” At eight years old and back at her mother’s side in St. Louis, Maya is attacked by a man many times her age—and has to live with the consequences for a lifetime. Years later, in San Francisco, Maya learns that love for herself, the kindness of others, her own strong spirit, and the ideas of great authors (“I met and fell in love with William Shakespeare”) will allow her to be free instead of imprisoned. Poetic and powerful, I Know Why the Caged Bird Sings will touch hearts and change minds for as long as people read. “I Know Why the Caged Bird Sings liberates the reader into life simply because Maya Angelou confronts her own life with such a moving wonder, such a luminous dignity.”—James Baldwin From the Paperback edition. |
| bell hooks writing autobiography: Envisioning Taiwan June Yip, 2004-10-07 In discussions of postcolonial nationhood and cultural identity, Taiwan is often overlooked. Yet the island—with its complex history of colonization—presents a particularly fascinating case of the struggle to define a “nation.” While the mainland Chinese government has been unequivocal in its resistance to Taiwanese independence, in Taiwan, government control has gradually passed from mainland Chinese immigrants to the Taiwanese themselves. Two decades of democratization and the arrival of consumer culture have made the island a truly global space. Envisioning Taiwan sorts through these complexities, skillfully weaving together history and cultural analysis to give a picture of Taiwanese identity and a lesson on the usefulness and the limits of contemporary cultural theory. Yip traces a distinctly Taiwanese sense of self vis-à-vis China, Japan, and the West through two of the island’s most important cultural movements: the hsiang-t’u (or “nativist”) literature of the 1960s and 1970s, and the Taiwanese New Cinema of the 1980s and 1990s. At the heart of the book are close readings of the work of the hsiang-t’u writer Hwang Chun-ming and the New Cinema filmmaker Hou Hsiao-hsien. Key figures in Taiwan’s assertion of a national identity separate and distinct from China, both artists portray in vibrant detail daily life on the island. Through Hwang’s and Hou’s work and their respective artistic movements, Yip explores “the imagining of a nation” on the local, national, and global levels. In the process, she exposes a perceptible shift away from traditional models of cultural authenticity toward a more fluid, postmodern hybridity—an evolution that reflects both Taiwan’s peculiar multicultural reality and broader trends in global culture. |
| bell hooks writing autobiography: Redefining Realness Janet Mock, 2014-12-02 Original hardcover publication and copyright date: 2014. |
| bell hooks writing autobiography: Zami Audre Lorde, 2018-07-05 One of the BBC's '100 Novels That Shaped Our World' If I didn't define myself for myself, I would be crunched into other people's fantasies for me and eaten alive A little black girl opens her eyes in 1930s Harlem, weak and half-blind. On she stumbles - through teenage pain and loneliness, but then to happiness in friendship, work and sex, from Washington Heights to Mexico, always changing, always strong. This is Audre Lorde's story. A rapturous, life-affirming autobiographical novel by the 'Black, lesbian, mother, warrior poet', it changed the literary landscape. 'Her work shows us new ways to imagine the world ... so many themes of Audre's work have endured' Renni Eddo Lodge, author of Why I'm No Longer Talking to White People About Race 'I came across Audre Lorde's Zami, and I cried to think how lucky I was to have found her. She was an inspiration' Jackie Kay |
| bell hooks writing autobiography: Reading Autobiography Sidonie Smith, Julia Watson, 2010-07-02 With the memoir boom, life storytelling has become ubiquitous and emerged as a distinct field of study. Reading Autobiography, originally published in 2001, was the first comprehensive critical introduction to life writing in all its forms. Widely adopted for undergraduate and graduate-level courses, it is an essential guide for students and scholars reading and interpreting autobiographical texts and methods across the humanities, social sciences, and visual and performing arts. Thoroughly updated, the second edition of Reading Autobiography is the most complete assessment of life narrative in its myriad forms. It lays out a sophisticated, theoretical approach to life writing and the components of autobiographical acts, including memory, experience, identity, embodiment, space, and agency. Sidonie Smith and Julia Watson explore these components, review the history of life writing and the foundations of autobiographical subjectivity, and provide a toolkit for working with twenty-three key concepts. Their survey of innovative forms of life writing, such as autographics and installation self-portraiture, charts recent shifts in autobiographical practice. Especially useful for courses are the appendices: a glossary covering dozens of distinct genres of life writing, proposals for group and classroom projects, and an extensive bibliography. |
| bell hooks writing autobiography: Reading Autobiography Now Sidonie Smith, Julia Watson, 2024-07-09 A user-friendly guide to reading, writing, and theorizing autobiographical texts and practices for students, scholars, and practitioners of life narrative The boom in autobiographical narratives continues apace. It now encompasses a global spectrum of texts and practices in such media as graphic memoir, auto-photography, performance and plastic arts, film and video, and online platforms. Reading Autobiography Now offers both a critical engagement with life narrative in historical perspective and a theoretical framework for interpreting texts and practices in this wide-ranging field. Hailed upon its initial publication as “the Whole Earth Catalog of autobiography studies,” this essential book has been updated, reorganized, and expanded in scope to serve as an accessible and contemporary guide for scholars, students, and practitioners. Sidonie Smith and Julia Watson explore definitions of life narrative, probe issues of subjectivity, and outline salient features of autobiographical acts and practices. In this updated edition, they address emergent topics such as autotheory, autofiction, and autoethnography; expand the discussions of identity, relationality, and agency; and introduce new material on autobiographical archives and the profusion of “I”s in contemporary works. Smith and Watson also provide a helpful toolkit of strategies for reading life narrative and an extensive glossary of mini-essays analyzing key theoretical concepts and dozens of autobiographical genres. An indispensable exploration of this expansive, transnational, multimedia field, Reading Autobiography Now meticulously unpacks the heterogeneous modes of life narratives through which people tell their stories, from traditional memoirs and trauma narratives to collaborative life narrative and autobiographical comics. |
| bell hooks writing autobiography: Diary as Literature: Through the Lens of Multiculturalism in America Angela R. Hooks, 2020-02-20 Meandering plots, dead ends, and repetition, diaries do not conform to literary expectations, yet they still manage to engage the reader, arouse empathy and elicit emotional responses that many may be more inclined to associate with works of fiction. Blurring the lines between literary genres, diary writing can be considered a quasi-literary genre that offers a unique insight into the lives of those we may have otherwise never discovered. This edited volume examines how diarists, poets, writers, musicians, and celebrities use their diary to reflect on multiculturalism and intercultural relations. Within this book, multiculturalism is defined as the sociocultural experiences of underrepresented groups who fall outside the mainstream of race, ethnicity, religion, gender, sexual orientation, disability, and language. Multiculturalism reflects different cultures and racial groups with equal rights and opportunities, equal attention and representation without assimilation. In America, the multicultural society includes various cultural and ethnic groups that do not necessarily have engaging interaction with each other whereas, importantly, intercultural is a community of cultures who learn from each other, and have respect and understand different cultures. Presented as a collection of academic essays and creative writing, The Diary as Literature Through the Lens of Multiculturalism in America analyses diary writing in its many forms from oral diaries and memoirs to letters and travel writing. Divided into three sections: Diaries of the American Civil War, Diaries of Trips and Letters of Diaspora, and Diaries of Family, Prison Lyrics, and a Memoir, the contributors bring a range of expertise to this quasi-literary genre including comparative and transatlantic literature, composition and rhetoric, history and women and gender studies. |
| bell hooks writing autobiography: Autobiographical Writing Across the Disciplines Diane P. Freedman, Olivia Frey, 2004-01-23 Autobiographical Writing Across the Disciplines reveals the extraordinary breadth of the intellectual movement toward self-inclusive scholarship. Presenting exemplary works of criticism incorporating personal narratives, this volume brings together twenty-seven essays from scholars in literary studies and history, mathematics and medicine, philosophy, music, film, ethnic studies, law, education, anthropology, religion, and biology. Pioneers in the development of the hybrid genre of personal scholarship, the writers whose work is presented here challenge traditional modes of inquiry and ways of knowing. In assembling their work, editors Diane P. Freedman and Olivia Frey have provided a rich source of reasons for and models of autobiographical criticism. The editors’ introduction presents a condensed history of academic writing, chronicles the origins of autobiographical criticism, and emphasizes the role of feminism in championing the value of personal narrative to disciplinary discourse. The essays are all explicitly informed by the identities of their authors, among whom are a feminist scientist, a Jewish filmmaker living in Germany, a potential carrier of Huntington’s disease, and a doctor pregnant while in medical school. Whether describing how being a professor of ethnic literature necessarily entails being an activist, how music and cooking are related, or how a theology is shaped by cultural identity, the contributors illuminate the relationship between their scholarly pursuits and personal lives and, in the process, expand the boundaries of their disciplines. Contributors: Kwame Anthony Appiah Ruth Behar Merrill Black David Bleich James Cone Brenda Daly Laura B. DeLind Carlos L. Dews Michael Dorris Diane P. Freedman Olivia Frey Peter Hamlin Laura Duhan Kaplan Perri Klass Muriel Lederman Deborah Lefkowitz Eunice Lipton Robert D. Marcus Donald Murray Seymour Papert Carla T. Peterson David Richman Sara Ruddick Julie Tharp Bonnie TuSmith Alex Wexler Naomi Weisstein Patricia Williams |
| bell hooks writing autobiography: Biography , 2001 |
| bell hooks writing autobiography: Autobiography as Activism Margo V. Perkins, 2009-10-05 Angela Davis, Assata Shakur (a.k.a. JoAnne Chesimard), and Elaine Brown are the only women activists of the Black Power movement who have published book-length autobiographies. In bearing witness to that era, these militant newsmakers wrote in part to educate and to mobilize their anticipated readers. In this way, Davis's Angela Davis: An Autobiography (1974), Shakur's Assata (1987), and Brown's A Taste of Power: A Black Woman's Story (1992) can all be read as extensions of the writers' political activism during the 1960s. Margo V. Perkins's critical analysis of their books is less a history of the movement (or of women's involvement in it) than an exploration of the politics of storytelling for activists who choose to write their lives. Perkins examines how activists use autobiography to connect their lives to those of other activists across historical periods, to emphasize the link between the personal and the political, and to construct an alternative history that challenges dominant or conventional ways of knowing. The histories constructed by these three women call attention to the experiences of women in revolutionary struggle, particularly to the ways their experiences have differed from men's. The women's stories are told from different perspectives and provide different insights into a movement that has been much studied from the masculine perspective. At times they fill in, complement, challenge, or converse with the stories told by their male counterparts, and in doing so, hint at how the present and future can be made less catastrophic because of women's involvement. The multiple complexities of the Black Power movement become evident in reading these women's narratives against each other as well as against the sometimes strikingly different accounts of their male counterparts. As Davis, Shakur, and Brown recount events in their lives, they dispute mainstream assumptions about race, class, and gender and reveal how the Black Power struggle profoundly shaped their respective identities. |
| bell hooks writing autobiography: Skin Again Bell Hooks, 2017-06-04 From legendary author and critic bell hooks and multi-Caldecott Medalist Chris Raschka comes a new way to talk about race and identity that will appeal to parents of the youngest readers. The skin I'm in is just a covering. It cannot tell my story. If you want to know who I am, you have got to come inside and open your heart way wide. Race matters, but only so much--what's most important is who we are on the inside. Looking beyond skin, going straight to the heart, we find in each other the treasures stored down deep. Learning to cherish those treasures, to be all we imagine ourselves to be, makes us free. This award-winning book, celebrates all that makes us unique and different and offers a strong, timely and timeless message of loving yourself and others. |
| bell hooks writing autobiography: The Salt Eaters Toni Cade Bambara, 2011-02-16 A community of Black faith healers witness an event that will change their lives forever in this hard-nosed, wise, funny novel (Los Angeles Times). One of The Atlantic’s Great American Novels of the Past 100 Years Set in a fictional city in the American South, the novel also inhabits the nonlinear, sacred space and sacred time of traditional African religion” (The New York Times Book Review). Though they all united in their search for the healing properties of salt, some of them are centered, some are off-balance; some are frightened, and some are daring. From the men who live off welfare women to the mud mothers who carry their children in their hides, the novel brilliantly explores the narcissistic aspect of despair and the tremendous responsibility that comes with physical, spiritual, and mental well-being. |
| bell hooks writing autobiography: Beyond the Black Lady Lisa B. Thompson, 2009-07-08 Representing the sexuality of black middle class women in contemporary popular culture |
| bell hooks writing autobiography: Rock My Soul bell hooks, 2025-05 From the late feminist icon and New York Times bestselling author of All About Love, an in-depth look at one of the most critical issues facing Black Americans: a collective wounded self-esteem that has prevailed from slavery to the present day, with a new introduction by Tressie McMillan Cottom, author of Thick. Why do so many Black Americans--whether privileged or poor, urban or suburban, young or old--live in a state of chronic anxiety, fear, and shame? Rock My Soul: Black People and Self-Esteem breaks through collective denial and dares to imagine a more liberatory framework for understanding self and identity in a world where loss is commonplace. With visionary insight, hooks exposes the underlying reality that it has been difficult--if not impossible--for our nation to create a culture that promotes and sustains healthy self-esteem. Without self-esteem people begin to lose their sense of agency. They feel powerless. But it is never too late for any of us to acquire the healthy self-esteem that is needed for a fulfilling life. While originally written in 2002, hooks' insights into the heart and soul of the Black American identity crisis continue to ring true. Through history, pop culture criticism, and hard-won wisdom, hooks writes about what it takes to heal the scars of the past, promote and maintain self-esteem, and lay down the roots for a truly grounded sense of community and collectivity. Moving beyond the ways historical racial justice movements have failed, hooks also identifies diverse psychological barriers and collective traumas keeping us from well-being. In highlighting the roles of desegregation, education, the absence of progressive parenting, spiritual crisis, or fundamental breakdowns in communication between Black women and men, bell hooks identifies mental health as a revolutionary frontier--and provides guidance for healing within the Black community. |
| bell hooks writing autobiography: Lucy Jamaica Kincaid, 2002-09-04 The coming-of-age story of one of Jamaica Kincaid's most admired creations--available now in an e-book edition. Lucy, a teenage girl from the West Indies, comes to America to work as an au pair for a wealthy couple. She begins to notice cracks in their beautiful façade at the same time that the mysteries of own sexuality begin to unravel. Jamaica Kincaid has created a startling new heroine who is destined to win a place of honor in contemporary fiction. |
single word requests - What do you call the sound of a bell?
Sep 11, 2011 · The sound of a hand held brass bell, to me, is "ding-a-ling." "Tinkle" would apply at best to a very small bell (and at worst is slang for urinate as I commented above), and "brrring" …
idioms - For whom the bell tolls - origin of "ask not" instead of ...
Jun 15, 2016 · HAGSTRUM: I was rather amused to read that after Hemingway's For Whom the Bell Tolls came out with its quotation from John Donne's Devotions people came to the libraries and …
single word requests - Is there a term for the sound of a bicycle bell ...
JINGLE BELL PUKY G22 9913-22 MM. Another word as correctly suggested in the comment below (@PLL) and in the definition above is tinkle. to give forth or make a succession of short, light, …
etymology - What caused bell peppers to be called capsicums in …
Aug 24, 2016 · 1707 H. Sloane Voy. Islands I. 241 Bell Pepper. The fruit is large..somewhat shaped like a bell.. . . ("pepper, n." OED Online. Oxford University Press, June 2016. Web. 24 August …
A figure of speech to illustrate the irreversibility of an action
May 2, 2016 · Personally I like "You can't unring that bell" as deadrat mentioned above. The phrase refers to the fact that you can't un-hear a bell that has been rung. There's a nice essay about its …
etymology - Origin of using "clocked" to mean "noticed" - English ...
The second is based on the origins of 'clock', (OED ~ "Middle English clok(ke , clocke , was either < Middle Dutch clocke (modern Dutch klok ‘bell, clock’), or < Old Northern French cloke , cloque = …
The door was opened vs The door was open [duplicate]
Dec 1, 2015 · The door was open. In this sentence 'open' is an adjective. It means 'not closed or blocked up'. The sentence has the same structure as 'the boy was smart' or 'the girl is beautiful'.
"If/as/when necessary" - English Language & Usage Stack Exchange
Feb 7, 2012 · All three read roughly the same to me but if I were to divide them I would do along a spectrum of how often it may be necessary to press the bell. 3 implies (very weakly) pressing …
word choice - What Is the Real Name of the #? - English Language ...
Apr 5, 2014 · 1996 New Scientist 30 Mar. 54/3 The term ‘octothorp(e)’ (which MWCD10 dates 1971) was invented for ‘#’, allegedly by Bell Labs engineers when touch-tone telephones were …
citation - Should I capitalize a person's last name if their name ...
May 14, 2015 · In the case of a pen name (such as bell hooks for example), it seems acceptable to use it as such at the beginning of a sentence. ("bell hooks wrote her reflections on liberatory …
single word requests - What do you call the sound of a bell?
Sep 11, 2011 · The sound of a hand held brass bell, to me, is "ding-a-ling." "Tinkle" would apply at best to a very small bell (and at worst is slang for urinate as I commented above), and "brrring" …
idioms - For whom the bell tolls - origin of "ask not" instead of ...
Jun 15, 2016 · HAGSTRUM: I was rather amused to read that after Hemingway's For Whom the Bell Tolls came out with its quotation from John Donne's Devotions people came to the …
single word requests - Is there a term for the sound of a bicycle …
JINGLE BELL PUKY G22 9913-22 MM. Another word as correctly suggested in the comment below (@PLL) and in the definition above is tinkle. to give forth or make a succession of short, …
etymology - What caused bell peppers to be called capsicums in …
Aug 24, 2016 · 1707 H. Sloane Voy. Islands I. 241 Bell Pepper. The fruit is large..somewhat shaped like a bell.. . . ("pepper, n." OED Online. Oxford University Press, June 2016. Web. 24 …
A figure of speech to illustrate the irreversibility of an action
May 2, 2016 · Personally I like "You can't unring that bell" as deadrat mentioned above. The phrase refers to the fact that you can't un-hear a bell that has been rung. There's a nice essay …
etymology - Origin of using "clocked" to mean "noticed" - English ...
The second is based on the origins of 'clock', (OED ~ "Middle English clok(ke , clocke , was either < Middle Dutch clocke (modern Dutch klok ‘bell, clock’), or < Old Northern French cloke , …
The door was opened vs The door was open [duplicate]
Dec 1, 2015 · The door was open. In this sentence 'open' is an adjective. It means 'not closed or blocked up'. The sentence has the same structure as 'the boy was smart' or 'the girl is beautiful'.
"If/as/when necessary" - English Language & Usage Stack Exchange
Feb 7, 2012 · All three read roughly the same to me but if I were to divide them I would do along a spectrum of how often it may be necessary to press the bell. 3 implies (very weakly) pressing …
word choice - What Is the Real Name of the #? - English Language ...
Apr 5, 2014 · 1996 New Scientist 30 Mar. 54/3 The term ‘octothorp(e)’ (which MWCD10 dates 1971) was invented for ‘#’, allegedly by Bell Labs engineers when touch-tone telephones were …
citation - Should I capitalize a person's last name if their name ...
May 14, 2015 · In the case of a pen name (such as bell hooks for example), it seems acceptable to use it as such at the beginning of a sentence. ("bell hooks wrote her reflections on liberatory …
