“From Black Is A Woman’s Color” by bell hooks: Summary and Critique

Introduction: “From Black Is A Woman’s Color” by bell hooks

“From Black Is a Woman’s Color” by bell hooks first appeared in 1989 in the journal Callaloo, a leading publication focused on African American and African diaspora literature and culture. This essay holds significant weight in both literature and literary theory, as it delves into the intersections of race, gender, and cultural identity, central themes in hooks’ body of work. In this piece, hooks critiques the internalization of white beauty standards within Black communities, particularly through the ritual of hair care, while highlighting the complexities of Black womanhood. The essay’s exploration of identity and belonging offers a powerful critique of societal norms, especially through the lens of feminist and critical race theory. Hooks’ work challenges traditional literary forms by blending personal narrative with cultural criticism, making it a cornerstone for discussions around the politics of representation, the construction of Black female subjectivity, and the role of cultural rituals in maintaining or subverting oppressive systems. The essay’s contribution to literary critique lies in its ability to intertwine lived experience with broader theoretical frameworks, engaging readers in both personal and political reflections on identity.

Summary of “From Black Is A Woman’s Color” by bell hooks

• The Ritual of Hair: Bell Hooks opens the essay by discussing the cultural significance of “good hair” within the Black community. She highlights how from an early age, Black girls are socialized to value straight, non-kinky hair. The texture of hair becomes an indicator of beauty and acceptance, although this standard is never explicitly acknowledged as an imitation of white beauty standards. Hooks reflects, “We pretend that the standards we measure our beauty by are our own invention” (p. 382). Despite having what is considered “good hair,” she feels disconnected from the intimate ritual of hair pressing, which symbolizes a girl’s passage into womanhood.
• The Bond of Women in the Kitchen: Hooks describes the kitchen as a space where women, especially Black women, come together for rituals of beauty and intimacy, such as pressing hair. These moments transcend simple grooming; they are times for community and connection. “It is a time without men… a time when we work to meet each other’s needs, to make each other beautiful in whatever way we can” (p. 382). Despite this bond, Hooks reveals a longing to fit in with the women, even though her hair does not require pressing. She yearns for inclusion and the transformation that this ritual promises but ultimately finds disappointment when she realizes that her “good hair” fails to change into the thick, textured hair she admires.
• Jazz as a Reflection of Black Identity: Hooks shifts to discuss jazz, explaining how it became a fundamental aspect of Black culture. She recalls her father explaining that jazz was “the black man’s music… because it does not simply lament, moan, express sorrow; it expresses everything” (p. 383). Jazz, for her father, was a way to articulate the complexity of Black life, particularly the pain and longing that underpinned their experience. Hooks resonates with this sentiment, linking jazz to the deep emotions Black people carry, particularly “the constant knowing that death is real and a possibility” (p. 383). Through jazz, she connects to her father and the broader Black cultural narrative.
• Suffering, Music, and Solitude: Music, particularly gospel and soul, becomes a medium for both joy and sorrow within the Black family. Hooks describes moments of communal singing in church and at home, emphasizing the spiritual and cultural importance of these gatherings. “They sing without musical accompaniment… they do it this way so as not to forget what the past has been” (p. 383). Music allows the Black community to remember and honor their past, yet it also highlights their suffering. Hooks poignantly ties this expression to the Black experience of suffering, which is transformed into sound as a way of bearing witness to their history.
• Silence, Exile, and the Color Black: Hooks touches on the theme of exile and silence, both literal and symbolic. Black is described as a woman’s color, a mark of maturity and depth, yet Hooks as a child is forbidden from wearing it. She reflects, “Black is a woman’s color” (p. 384), implying that wearing black symbolizes a rite of passage into understanding the struggles of womanhood. However, this color and its associations with loss and mourning also create a disconnect between Hooks and her family, who do not permit her to fully embody this symbol of womanhood.
• Emotional Abuse and Family Dynamics: Hooks delves into the emotional and physical violence present in her family, where gender roles and power dynamics play a significant role. She describes moments of physical punishment from her mother, who often chooses to align with the father, even when it means betraying her daughter. “I cannot understand her acts of betrayal. I cannot understand that she must be against me to be for him” (p. 386). The essay reveals the complexities of family loyalty and love, as Hooks struggles with feelings of abandonment and longing for her father’s love, which she never fully receives.
• Poetry as Escape: Finally, Hooks finds solace in poetry, which becomes her way of processing the pain and confusion of her life. She turns to Romantic poets like Emily Dickinson and Edna St. Vincent Millay, whose works speak to her experience of isolation and emotional exile. Poetry becomes both a refuge and a form of self-expression that allows her to channel her pain into art. “Using [poetry] to make the poems live, using the poems to keep on living” (p. 384), Hooks reflects on how literature helps her navigate the emotional and psychological difficulties of her youth.

Literary Terms/Concepts in “From Black Is A Woman’s Color” by bell hooks

Literary Term/Concept	Definition	Application in “From Black Is A Woman’s Color”
Symbolism	Use of symbols to represent ideas or qualities.	Hair, particularly “good hair” versus “bad hair,” symbolizes conformity to white beauty standards, and the pressing ritual symbolizes a rite of passage into womanhood.
Rite of Passage	A significant ritual marking a person’s transition from one status to another.	Hair pressing is depicted as a rite of passage from girlhood to womanhood in the Black community, signifying a shift in social status.
Cultural Critique	The examination and critique of societal norms and values.	Hooks critiques the internalization of white beauty standards and the lack of appreciation for natural Black hair, questioning societal pressures within the Black community.
Identity and Selfhood	Exploration of the self and how it relates to societal roles.	Hooks reflects on her desire to belong within a woman’s world through the hair-pressing ritual, highlighting the intersection of race, gender, and personal identity.
Race and Representation	The portrayal of racial identities and how they interact with societal norms.	The essay explores how Black women are judged by their physical appearance, particularly their hair, which serves as a marker of race and social acceptance.
Feminism	Advocacy for women’s rights and gender equality.	Hooks highlights the unique struggles of Black women, their roles in the family, and their subjugation under both patriarchy and racial oppression, reflecting on her complex relationship with her mother.
Exile and Alienation	Feelings of separation from society or a group.	Hooks experiences emotional exile when she is excluded from the hair-pressing ritual due to her “good hair,” symbolizing a broader sense of alienation.
Music as a Metaphor	Use of music to convey deeper emotional or societal meanings.	Jazz and soul music are metaphors for Black identity, resilience, and emotional expression, symbolizing the community’s transformation of suffering into art.
Metaphor	A figure of speech where a word or phrase is applied to an object or action to which it is not literally applicable.	The kitchen and the pressing of hair are metaphors for deeper communal bonding, emotional intimacy, and the creation of a shared Black female identity.

Contribution of “From Black Is A Woman’s Color” by bell hooks to Literary Theory/Theories

• Critique of Beauty Standards and Internalized Racism
• Hooks challenges the internalization of white beauty standards within Black communities, particularly through the dichotomy of “good hair” versus “bad hair.” She reveals how these standards are imposed on Black women, influencing their self-perception: “We pretend that the standards we measure our beauty by are our own invention” (p. 382).
• Feminist Theory: Intersection of Race and Gender
• The essay contributes to intersectional feminist theory by examining how Black women experience both racial and gender oppression. Hooks reflects on how Black women engage in rituals of beauty not to conform to white standards, but as acts of community and womanhood: “It is not a sign of our longing to be white… We are girls… It is a sign of our desire to be women” (p. 382).
• Cultural Criticism and Identity Formation
• Hooks addresses how cultural rituals, such as hair pressing, shape identity and belonging. She critiques how Black cultural practices are influenced by external standards, but also highlights the empowerment and solidarity that can come from these rituals: “We are women together. This is our ritual and our time” (p. 382).
• Postcolonial Theory: Impact of Colonization on Identity
• By discussing the influence of white standards on Black women’s self-image, Hooks engages with postcolonial theory, showing how colonial legacies continue to shape Black identity and cultural practices: “Real good hair is straight hair, hair like white folks’ hair” (p. 382).
• Exploration of Exile and Alienation in Black Experience
• The essay explores themes of exile and alienation, both physically and emotionally. Hooks experiences a sense of exclusion from the ritual of hair pressing due to her “good hair,” which metaphorically represents her alienation from cultural norms: “Without the hot comb I remain a child, one of the uninitiated” (p. 382).
• Representation and Performance of Black Womanhood
• Hooks contributes to theories of performance and representation by demonstrating how Black women perform gender and cultural identity through beauty rituals. This performance is both a means of solidarity and a reflection of the pressures imposed by society: “The intimacy masks betrayal. Together we change ourselves” (p. 382).
• Subversion of Traditional Narratives of Femininity
• Hooks subverts traditional narratives of femininity, particularly those that prioritize white or Eurocentric beauty ideals. Through her own longing for natural Black hair, she highlights the value of embracing Blackness and rejecting oppressive standards: “I had hoped that the hot comb would transform me, turn the thin good hair into thick nappy hair, the kind of hair I like and long for” (p. 382).

Examples of Critiques Through “From Black Is A Woman’s Color” by bell hooks

Literary Work	Critique through Bell Hooks’ “From Black Is A Woman’s Color” Lens	Explanation/Reference
Their Eyes Were Watching God by Zora Neale Hurston	Critique of Beauty Standards and Black Womanhood	Hooks’ discussion on hair as a symbol of beauty can critique how Janie’s long hair in Hurston’s novel symbolizes both her individuality and the community’s expectations. Like Hooks, Janie navigates external beauty standards imposed by society, where her hair becomes a site of both freedom and scrutiny.
The Bluest Eye by Toni Morrison	Internalized Racism and White Beauty Ideals	Hooks’ analysis of “good hair” versus “bad hair” provides a critique of Pecola Breedlove’s desire for blue eyes and lighter skin in Morrison’s novel. Just as Hooks critiques the imposition of white beauty standards on Black women, Morrison illustrates the destructive impact of these ideals on Pecola’s psyche.
A Raisin in the Sun by Lorraine Hansberry	Intersection of Race and Gender in Black Identity	Hooks’ emphasis on hair rituals and womanhood critiques Beneatha’s struggle with her natural hair in A Raisin in the Sun. Beneatha’s decision to embrace her Afro symbolizes her rejection of assimilationist standards, much like Hooks’ desire for natural hair as a rejection of white beauty norms.
Beloved by Toni Morrison	Postcolonial Legacy and Cultural Trauma	Hooks’ reflections on identity and cultural rituals critique Beloved’s exploration of the legacy of slavery on Black women. The erasure and reclamation of Black identity in Morrison’s work resonate with Hooks’ discussion of how beauty rituals are both shaped by and resist colonial influences on Black culture.

Criticism Against “From Black Is A Woman’s Color” by bell hooks

1. Essentialism and Homogenization of Black Experience
   Critics might argue that Hooks’ portrayal of Black womanhood risks essentializing the experience of Black women, suggesting a universal narrative that overlooks the diversity within the Black community. While her reflections on hair and beauty rituals are deeply personal, some may feel that Hooks generalizes the experiences of Black women, potentially excluding those who do not share these particular cultural or familial experiences.
2. Limited Exploration of Class Differences
   Although Hooks touches on issues of race and gender, the essay could be critiqued for not fully addressing how class differences intersect with these identities. The focus on rituals like hair pressing and community bonding could overlook the economic challenges faced by many Black women, which also shape their experiences and expressions of identity.
3. Overemphasis on Beauty Standards as Central to Black Identity
   Some critics may argue that Hooks places too much emphasis on beauty standards, particularly hair, as a primary marker of Black female identity. While these aspects are important, the critique could assert that the essay downplays other significant factors like intellectual, political, or professional empowerment, which also shape Black women’s identities and roles in society.
4. Nostalgic View of Cultural Rituals
   Hooks’ portrayal of the kitchen as a place of bonding for Black women could be seen as overly nostalgic. Critics might suggest that this idealization of cultural rituals ignores the potential pressures and burdens they place on women, reinforcing traditional gender roles that confine Black women to domestic spaces and tasks.
5. Inadequate Engagement with Contemporary Movements
   A further criticism could be that Hooks’ essay, written in 1989, does not fully engage with the emerging perspectives from contemporary Black feminist movements. Modern movements may focus on broader issues such as sexual autonomy, intersectionality, and LGBTQ+ inclusivity, which are not explored in this particular essay. This can lead to the perception that the essay is somewhat dated or limited in scope compared to evolving feminist discourses.

Suggested Readings: “From Black Is A Woman’s Color” by bell hooks

1. hooks, bell. Ain’t I a Woman: Black Women and Feminism. South End Press, 1981.
   URL: https://www.southendpress.org
2. hooks, bell. Black Looks: Race and Representation. South End Press, 1992.
   URL: https://archive.org/details/blacklooksracere0000hook
3. Lorde, Audre. Sister Outsider: Essays and Speeches. Crossing Press, 1984.
   URL: https://archive.org/details/sisteroutsider00audr
4. Morrison, Toni. The Bluest Eye. Holt, Rinehart, and Winston, 1970.
   URL: https://www.penguinrandomhouse.com/books/
5. Collins, Patricia Hill. Black Feminist Thought: Knowledge, Consciousness, and the Politics of Empowerment. Routledge, 1990.
   URL: https://www.routledge.com
6. Walker, Alice. In Search of Our Mothers’ Gardens: Womanist Prose. Harcourt Brace Jovanovich, 1983.
   URL: https://archive.org/details/insearchofourmot0000walk
7. hooks, bell. “Straightening Our Hair.” Talking Back: Thinking Feminist, Thinking Black. South End Press, 1989.
   URL: https://www.southendpress.org
8. Tate, Claudia. Black Women Writers at Work. Continuum, 1983.
   URL: https://archive.org/details/blackwomenwriter0000unse
9. The African American Literature Book Club (AALBC). “Bell Hooks Biography.”
   URL: https://aalbc.com/authors/author.php?author_name=bell+hooks
10. Brown, Tamara L. “Beauty Standards in African American Culture: A Look at Hair.” Journal of Black Studies, vol. 41, no. 3, 2010, pp. 247–259.
    URL: https://journals.sagepub.com/home/jbs

Representative Quotations from “From Black Is A Woman’s Color” by bell hooks with Explanation

Quotation	Explanation
“Good hair is hair that is not kinky, hair that does not feel like balls of steel wool, hair that does not take hours to comb.”	This quotation highlights the internalized racism within the Black community, where straight, non-kinky hair is associated with beauty and desirability, reflecting the pressure to conform to white beauty standards.
“Real good hair is straight hair, hair like white folks’ hair. Yet no one says so.”	Hooks critiques the unspoken societal pressure to idealize white beauty standards without explicitly acknowledging their origin, emphasizing the silent assimilation to these norms.
“It is not a sign of our longing to be white. It is not a sign of our quest to be beautiful. We are girls. It is a sign of our desire to be women.”	Here, Hooks reinterprets the act of hair pressing as a rite of passage into womanhood, not necessarily an attempt to assimilate into white culture but rather a deeply rooted cultural ritual among Black women.
“We are women together. This is our ritual and our time.”	This quotation emphasizes the sense of community and solidarity among Black women, suggesting that these rituals create a space for bonding and intimacy, away from the scrutiny of men and societal pressures.
“Without the hot comb, I remain a child, one of the uninitiated.”	Hooks reflects on the symbolic significance of hair pressing as a transition into adulthood, where being excluded from this ritual signifies exclusion from womanhood and cultural belonging.
“Secretly I had hoped that the hot comb would transform me, turn the thin good hair into thick nappy hair.”	This reveals Hooks’ internal conflict—despite having “good hair,” she longs for the thick, textured hair she associates with true Black identity, signifying a desire for authenticity over conformity.
“The intimacy masks betrayal. Together we change ourselves.”	Hooks acknowledges the dual nature of these beauty rituals: they foster intimacy and connection but also mask the underlying betrayal of conforming to oppressive beauty standards imposed by society.
“Black is a woman’s color.”	This succinct statement reflects the association of Blackness with maturity and depth, suggesting that the color black holds symbolic significance as a marker of womanhood and strength, but also of struggle and loss.
“Jazz, she learns from her father, is the black man’s music… It expresses everything.”	This quotation links jazz to Black identity, emphasizing that music, like Black culture, is multifaceted and serves as an outlet for the full range of emotions, particularly the expression of suffering and resilience.
“I do not have a mother.”	This powerful statement reflects the emotional alienation Hooks feels from her mother, representing a deeper critique of the ways in which Black women, including mothers, may perpetuate societal oppression by aligning with patriarchal norms.