Definitely had a big cry reading Samra Habib's We Have Always Been Here when she visited the queer Toronto Unity Mosque. Ramadan's been hard this year, only fasting half-days, then having to stop a week ago when I was having a particularly rough time. Today's the last day, Eid al-Fitr begins at sunset, more than anything I wish I was preparing to share Iftar and celebrate with trans and queer Muslims.
bell hooks has been around since my early- / mid-teens first contact with feminism. I didn't pay much attention to her at first, not seeing how she was relevant. That's the smallness and limits of my upbringing showing there. A while later, in the noise of Paris is Burning touring the world's film festivals while the stars struggled to make rent, hooks had opinions on Venus Extravaganza that were disappointingly and unsurprisingly 2nd Wave. There was a long gap before I read her again, though she was always around. In 2013, a few months after I re-read Feminist Theory: from margin to center she hung out with Janet Mock and read her autobiography; in 2014 she had a dialogue with Laverne Cox at The New School. I felt she was someone from that generation who'd put it together a little better, and if Janet and Laverne and all the other Black trans femmes could be in the same room as her and share their love for her, I could move on from her remarks 20 years previously. We all gotta be allowed to grow a little. (But that doesn't give her a pass to come for Beyoncé.)
bell hooks passed over to Ancestor space earlier today.
The first thing I thought of was her writing on domestic work in Feminist Theory. I've quoted her (and often Gayatri Chakravorty Spivak on the same subject at the same time) to probably everyone I know if we ever had a conversation about housework. The quote continues after this, and like a lot of her writing I thought it became dogmatic and made some improbable conjectures. But that's bell hooks. She was this brilliant, Black feminist theorist who understood why housework was so important, who was loved by Janet and Laverne and Raquel Wells and so many Black trans femmes and mascs, and in turn worked to earn their respect and love, and whose opinions over the years, from Paris is Burning to Beyoncé were occasionally of a different era and different feminism and occasionally shite.
I love doing housework, cooking and cleaning, and while I'm on my knees mopping the floor feeling like it's not at all demeaning or degrading or drudgery, I'm thinking, "Yeah, doing aesthetics here, care for self and the world, it's beauty and it's got value," and bell hooks is nodding going, "Yes, child, affirmation of your identity coming through strong."
Bit of an aside from last night when I was doing my regular midnight physical salvage session, and watching the film High Stakes on GCN+ (yup, I actually threw down cash for a year's subscription to watch a bunch of white dudes talk about bikes). Martyn Ashton, who is a very funny, very talented rider who uses a wheelchair after wrecking his back (for the second time), when he talks about physical and mental injuries as an athlete is someone I have a lot of time for.
He said something I've been trying to put into words for a very long time, which applies to dance — also a professional sports career — as much as it does to cycling or climbing, all three I've devoted a lot of my life to at various times. And from the beginning I have struggled with that inevitable double bind of physically fit but not unscathed.
I had Islam Dreaming on my list for a long time and suddenly it turned up. I didn't expect it to be so personally relevant, to read these pages and how simply and matter-of-fact this relationship was understood. It's something I've struggled to understand for myself for so long, and once again, it's Indigenous knowledge and life that helped. Different continents and I'm not Indigenous Australian, and trying to be careful here in not selectively appropriating a specific historical and geographic experience. I read these two pages over and over, recognising similarities to myself and my family's history in this.
While reading Elizabeth Gillespie McRae’s Mothers of Massive Resistance: White Women and the Politics of White Supremacy, I was continually reminded of the photo of Angela Peoples at the Women's March in 2017, holding a sign saying, “Don’t forget: White Women Voted for Trump”. The resistance by white people, especially white women and white mothers, to the unequivocal truth of the disparity between who they voted for and who Black, Latinx, Asian and everyone else voted for remains, not just in the US but everywhere white supremacy never went away: Australia, Canada, UK, Germany, across Europe, and elsewhere. “Their white motherhood meant teaching their children lessons in racial distance, in a racially determined place in society, and in white supremacy.” (p.237; quote above p. 240)
I was going to quote from the same novel, “Fuck every cause that ends in murder and children crying.” I haven't had words these last days. I've had too many words. Too much grief. Too much anger. Too much frustration. I'm not shocked. I'm not “How could this happen here,” or “This is not us,” or any of the others. We all know the truth of those apologies, they're not for us and we all know how this goes. And knowing that, doesn't stop me crying like I have since Friday, doesn't take away the pain. Alhamdulillah. Kia kaha.
I've been badly paraphrasing this section on the regular lately, from bell hooks’ 1984 work, Feminist Theory: From Margin to Center. It's 34 years old now. Some of hooks’ language and philosophy I find dated, it speaks to me of an undercurrent in her thinking (from Paris is Burning to Lemonade) that is hostile to certain groups, identities, selfhoods. Nonetheless, “housework promotes the development of aesthetics” is a banger of a line.
Flying into Tegel from Brussels yesterday evening, north of Berlin. I sat in 20-F, the sun coming in over my right shoulder, as we cut a giant curve from the Berliner Ring to turn back west, I sang, “… As we moved out of the farmlands into the grid …”.
These lyrics. How she sings them. Just my regular reminder to self that after 24 years Liz Phair's Exile in Guyville is still one of the best albums ever.