Bell Hooks Quotes

Intersectionality has made an important contribution to social and political analysis, asking all of us to think about what assumptions of race and class we make when we speak about "women" or what assumptions of gender and race we make when we speak about "class." It allows us to unpack those categories and see the various kinds of social formations and power relations that constitute those categories.

I don't think I write differently when I'm writing a screenplay, as opposed to a stage play or a teleplay. Maybe if I were in a film class and there was time to think about it, we could point out differences.

Now the writer, I think, has the chance to live more than other people in the presence of ... reality. It is his business to find it and collect it and communicate it to the rest of us.

It is hard to write about politicians, see them at such close range, and still think of any of them as heroes.

If there's an article about sexual assault, if there's a video about feminism on YouTube, you're going to get the most horrible, disgusting comments ever. And sometimes the comments are pornographic, and sometimes the comments are really harassing. So I think that it's kind of a difficult place for women to write sometimes.

There's a certain advantage to living in a small country like Guatemala, I think. You don't feel so distant from political reality there. When things happen, they almost seem to happen on a Shakespearian stage with the audience so close they can become actors too. This is partly what Joseph Brodsky meant when he wrote that small countries have big politics.

As all advocates of feminist politics know most people do not understand sexism or if they do they think it is not a problem. Masses of people think that feminism is always and only about women seeking to be equal to men. And a huge majority of these folks think feminism is anti-male. Their misunderstanding of feminist politics reflects the reality that most folks learn about feminism from patriarchal mass media.

I think the political reality for the Democratic Party is, you know, there are two sides. There's one side saying that we weren't liberal enough and another side saying we're too liberal. I think they're both right.

The people who review my books, generally, are kind of youngish culture writers who aspire to write books, or write opinion pieces about what they think of Neil Young, or why they quit watching ER or whatever. And because of that, I think there's a lot of people who write about my books with the premise of, "Why this guy? Why not me?"

There was no real strategic decision about editorial tone. It was kind of a write whatever you want to write, and we'll see how it goes. I think that we lucked out in that all of the women who started writing at Feministing.com were really funny, and I don't think that's something people are used to seeing or hearing when they read feminism. You know, you think feminism and you kind of think academic, women's studies, dry, humorless; there are all of these stereotypes that go along with what feminist thought is and what feminist writing is.

I think so much of my early life, even though I grew up White and middle class, I was completely shattered by the horrifically violent atmosphere I grew up in. I am a consequence of violence. That opened a door to many realities that I would not have experienced had I not survived what I did.

Each time I sit down and write a play I try to dismiss from my mind as much as I possibly can the implications of what I've done before, what I'm going to do, what other people think about my work, the failure or success of the previous play. I'm stuck with a new reality that I've got to create.

There are people who haven't faced the reality of what has gone on in Iraq. They still think that the old central state is going to be put back together again. It's not going to happen in Kurdistan. It's not going to happen in the south. It's not going to happen in Baghdad.

I think of myself in a continuum as a woman. Two hundred years ago, it would have been very difficult for me to write at all.

If my choice is to, I don’t know, be with a lot of men, or if I enjoy a really physical relationship, I don’t think that’s necessarily being anti-feminist. For me the argument of feminism never really should have come into the picture. Because I don’t know too much about the history of feminism, and so I’m not really a relevant person to bring into the conversation. Everything I was writing was so autobiographical, it could really only be a personal analysis.

I find in most novels no imagination at all. They seem to think the highest form of the novel is to write about marriage, because that's the most important thing there is for middle-class people.

My writing is translated into every Indian language, it's distributed in pamphlets, in little private video things, it's everywhere. So it's a lovely pastime for the middle class to think of itself as the whole nation.

I think that people who can't believe in faeries aren't worth knowing. I just think that alternate realities make you a good writer. If your work is any more than one dimension, you believe in faeries.

I'm asking the reader to suspend reality with me and entertain the idea that the person writing is not me. In order to do that well, I think, one needs to point out the artifice of the narrative. Somehow if the narrator is self-aware then it's almost more humanizing and more relatable.

I think that Donald Trump successfully mobilized a big chunk of America to vote for him and he's going to win. He has won. He's going to be the next president and regardless of what experience or assumptions he brought to the office, this office has a way of waking you up and those - those aspects of his positions or predispositions that don't match up with reality, he will find shaken up pretty quick because reality has a way of asserting itself.

Time allows change to take place and the very evolution of the universe is what requires some conception of time. Mathematically can we write down a universe that doesn't have time? Sure. Do we think that would be realised in the larger reality that is out there? None of us take that possibility seriously.

I believe that a writer has to tell what they think is the truth in a human experience. The truth of the human experience cannot escape the political.

Where these reduced (operational - E.W.) concepts govern the analysis of the human reality, individual or social, mental or material, they arrive at a false concreteness - a concreteness isolated from the conditions which constitute its reality. In this context, the operational treatment of the concept assumes a political function. The individual and his behavior are analyzed in a therapeutic sense - adjustment to his society. Thought and expression, theory and practice are to be brought in line with the facts of his existence without leaving room for the conceptual critique of these facts.

I think when you're running for president, especially someone that's never held elected office, there's one set of things that you may view the world through - a lens that you may view the world through. Then, you get elected and you get good people. And those good people bring you the facts. And they bring you, "Here's what's going on. Here are our options. Here's what happens if you do this. Here's what happens when you do that." And that reality begins to assert itself. And you have to react to that. You're now the president. You're no longer a candidate.