This annotation was written in reference to my paper: “The Productive, Political Power of Love in Nina Revoyr’s Southland.”
hooks, bell. “Loving Blackness as Political Resistance.” Black Looks Race and Representation. New York: South End Press, 1999. 9-20. Print.
“In her essay, bell hooks critiques how students and scholars are more interested and comfortable with discussing “black self-hatred,” how blacks have desired and “tried to attain whiteness,” rather than the possibility of “loving blackness” (10). She emphasizes the need to deeply interrogate and move beyond this “black obsession with whiteness,” which merely focuses attention on oppressive white power structures and hierarchies, in some ways reinforcing their influence over black lives, rather than investing effort to articulate new modes of seeing and understanding the black body that can be truly liberating (11). hooks asserts that the most effective means of combating white supremacy, both external and internalized racism, is for individuals to love blackness, to not simply love themselves in spite of their blackness but because of their blackness. But she also notes the extreme difficulties that lie in the process as the structures of white supremacy continue to “seduce black folks with the promise of mainstream success if only [they] are willing to negate the value of blackness” (17). While hooks admits that black people who accept the status quo and conform to whiteness, will probably achieve greater material rewards and upward mobility, she emphasizes that this conception that one has to deny blackness and black culture in order to attain such levels of socio-economic success will only precipitate a precarious crisis in black identity.
hooks ultimately suggests the need for people learn how to love themselves and how that act of loving can serve as a real form of political resistance because it directly challenges the logics of white supremacist thought, which cast blackness as that which should not and cannot be loved. Revoyr’s Southland takes on this political project, as Jackie Ishida learns how to love herself, her history, her people, and the members of the black LA community who she realizes are also part of her family.