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Hood (Object Lessons), by Alison Kinney
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Object Lessons is a series of short, beautifully designed books about the hidden lives of ordinary things.
We all wear hoods: the Grim Reaper, Red Riding Hood, torturers, executioners and the executed, athletes, laborers, anarchists, rappers, babies in onesies, and anyone who's ever grabbed a hoodie on a chilly day. Alison Kinney's Hood explores the material and symbolic vibrancy of this everyday garment and political semaphore, which often protects the powerful at the expense of the powerless-with deadly results. Kinney considers medieval clerics and the Klan, anti-hoodie campaigns and the Hooded Man of Abu Ghraib, the Inquisition and the murder of Trayvon Martin, uncovering both the hooded perpetrators of violence and the hooded victims in their sights.
Object Lessons is published in partnership with an essay series in The Atlantic.
- Sales Rank: #195879 in Books
- Published on: 2016-01-28
- Released on: 2016-01-28
- Original language: English
- Number of items: 1
- Dimensions: 6.54" h x .61" w x 4.87" l, .0 pounds
- Binding: Paperback
- 176 pages
Review
“From executioners in modern-day Florida, to the Ku Klux Klan, to ‘hug a hoodie’ Cameron – this scholarly study explores a complicated cultural history … The book is at its best on the connections between hoods and marginalised communities. In her lively discussion of David Cameron’s 2006 “hug-a-hoodie” speech, Kinney notes the no-win situation in which many young black people find themselves. On the one hand, hoods serve a purpose for those with disadvantaged and precarious lives, allowing them to hide from hostile attention and violence, even to feel empowered. On the other, the garments themselves become stigmatised, attracting the very attention that they seek to avoid.” – The Guardian
“Hoods infiltrate mass media, political discourse, supermarkets, school uniforms, New York Fashion Week, our homes―but it is easy to overlook them, or dismiss their ubiquity as apolitical and inconsequential, as a result. Alison Kinney’s Hood is centrally constituted around reaffirming this inherent ordinariness, while magnifying the extraordinary contexts hoods so often become wrapped up in. Hood is published as an installment of the ongoing Object Lessons series, which prompts writers and readers alike to focus on the smaller objects that constitute a life, engage in imaginative intellectual play with them, subject them to inscrutable human curiosity, and utilize them as mirrors that reflect back upon a very human world.” ― Lauren Stroh, Public Books
"Provocative and highly informative, Alison Kinney's Hood considers this seemingly neutral garment accessory and reveals it to be vexed by a long history of violence, from the Grim Reaper to the KKK and beyond―a history we would do well to address, and redress. Readers will never see hoods the same way again." ―Sister Helen Prejean, author of Dead Man Walking
"In spry and intelligent prose, Alison Kinney tours the many uses of the hood in human culture, exploring seemingly unconnected byways and guiding the reader through some surprising connections. The ubiquitous hood, she shows, is an artifact of human relationships with power, the state, and one another. By the end of my time with Hood, I had laughed out loud, sighed in exasperation, and felt by turns both furious and proud." ―Rebecca Onion, history writer for Slate Magazine
"This slim, energetic book ricochets between medieval executioners, Abu Ghraib, anarchist protestors, the Ku Klux Klan, Trayvon Martin, and the Grim Reaper in search of a Unified Theory of Hoods. Surprisingly, it ends up finding one, and unearths all manner of fascinating hood-related facts along the way." ―Pacific Standard
"Part of the publisher Bloomsbury’s 'Object Lessons' series, Hood contains a definite chill as Kinney tracks the history and significance of the garment through the 15th century to the present. ... Kinney tells a riveting story of the origins of the Ku Klux Klan’s hooded uniforms. ... This examination is part of the strength of the Object Lessons series. (Other titles look at Silence, Glass, and Dust.) Kinney, a writer in Brooklyn, New York, knits seemingly disparate subjects ― burkinis and gentrification, for example ― together in such a way that the connection is instantly appreciated – and she does her work in fewer than 200 pages. It’s thought-provoking without the lecture. In examining these small yet significant objects of daily life, we find new meaning in the world around us. Next time you get a little chilly and reach for your hoodie, thank Kinney for this history lesson." ―Tara Jefferson, The Anisfield-Wolf Book Awards Book Review
"The Object Lessons series achieves something very close to magic: the books take ordinary―even banal―objects and animate them with a rich history of invention, political struggle, science, and popular mythology. Filled with fascinating details and conveyed in sharp, accessible prose, the books make the everyday world come to life. Be warned: once you've read a few of these, you'll start walking around your house, picking up random objects, and musing aloud: 'I wonder what the story is behind this thing?'"―Steven Johnson, best-selling author of How We Got to Now: Six Innovations That Made the Modern World
"The Object Lessons project, edited by game theory legend Ian Bogost and cultural studies academic Christopher Schaberg, commissions short essays and small, beautiful books about everyday objects from shipping containers to toast. The Atlantic hosts a collection of "mini object-lessons", brief essays that take a deeper look at things we generally only glance upon ('Is bread toast only insofar as a human toaster perceives it to be "done?" Is bread toast when it reaches some specific level of nonenzymatic browning?'). More substantive is Bloomsbury's collection of small, gorgeously designed books that delve into their subjects in much more depth." ―Cory Doctorow, Boing Boing
About the Author
Alison Kinney is a freelance writer based in Brooklyn, New York, USA. Her writing has appeared online at Paris Review Daily, The Atlantic, Hyperallergic, the New York Times, The New Inquiry, New Republic, Narratively, and other publications.
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2 of 2 people found the following review helpful.
The hood makes victim into perpetrator, the murderer into victim, and we are all hoodwinked.
By Medieval Art
Last semester, I taught a new course on Monster Movies. This was, of course, tremendous fun, but it was also serious work. We watched so many wonderful films, read great essays about them, and had lively conversations each week. One of the leitmotifs of the course was "People are the worst." This was not really where I'd anticipated taking the course. We had vampires and zombies and artificially constructed horrors, but time and again, week after week, we found ourselves concluding that however bad the demons/dragons/revenants/Evil Dead were, it was the humans who really, really were just the worst.
The overarching narrative of course crystalized on the day that we discussed George Romero's 1968 classic Night of the Living Dead, the film that reinvented the zombie and became the source for more or less all subsequent zombie narratives. It is a brilliant film. Really. If you don't believe me, you haven't seen it. Get a copy. You need to see this film. The last few minutes transform all that has come before, and it is all suddenly (according to Romero, unintentionally) a parable about the ways that we divide ourselves from one another, and in particular the ways that race, or racial thought, leads to wanton waste of life.
There isn't a hood within it, not that I recall anyway, and yet I kept thinking of it as I read Alison Kinney's phenomenal new book, Hood, in Bloomsbury's innovative Object Lessons series. Each book in the series focuses on a single object type -- Shipping Container, Cigarette Lighter, Bookshelf. Hoods might seem the most innocuous of subjects, just nice bits of fabric to keep off the rain or the wind, but as Kinney traces their history from the Middle Ages forward, it becomes increasingly clear that this simple object is embedded in some of the most potent cultural currents. The book is small and slim, beautifully produced and a pleasure to hold. The writing is likewise beautiful, but the content is hard, harsh, startling, and necessary.
Kinney starts with the hoods we all think were worn by executioners, but reveals that this is a modern fiction, that it was the executed who more often were (and are) made to wear the hood. Nineteenth-century writers reveal the reason: the condemned must wear a hood in order to protect "the witnesses, even the executioner himself ... the most vulnerable people at an execution, while the prisoner was a kind of Grim Reaper, even at the moment of his own death" (19). If you are tempted to argue that people being executed deserve what they get, read this book's accounts of lynchings of men, women (including a gut-wrenching account of the lynching of a pregnant woman), and, yes, children. The revelation of a process of inversion of blame, where the victim becomes the threat and his murderers become the endangered, runs throughout the book, and is one of many disturbing realities it reveals. This hoodwinking is a key part of what Kinney calls "[t]he minstrelsy of victimhood," a brilliant phrase I will be borrowing (with citation) for in my current book (50).
Hood did something I wouldn't have thought possible: it made me realize that the Ku Klux Klan, which the Southern Poverty Law Center calls "the most infamous — and oldest — of American hate groups" is worse than I thought it was. How could they be any worse? Read the book. They are even worse. The hoods are just the start.
Ben, the African-American protagonist of Night of the Living Dead, does not wear a hoodie. He dresses "just right." He is a preppy, Joe College type, wearing a cardigan through much of the film, even while driving a tire iron through the forehead of a zombie. He seems at pains to demonstrate that he is a good guy (even if, in a cathartic moment, he slugs the middle-aged white guy).
I thought of this film at several points in my reading, but it seems most relevant toward the end. We all know, from the very image on the cover, where it is all tilting. He is mentioned in passing on page 98 but discussion of this most prominent case doesn't really happen until page 108. Indeed, when he is first introduced, Kinney is coy about it, knowing that we all know the name. She writes:
On a drizzly evening, February 26, 2012, one teenager in a hoddie tried to make himself invisible, to keep his head down in a dangerous environment. 'That man's following me,' he told his friend over the phone. 'I'm going to run.' He never made it home.
"He" is, of course, Trayvon Martin, the Black boy shot and murdered by George Zimmerman, an overzealous, self-appointed, apparently paranoiac, violence-seeking "neighborhood watch" member who was acquitted, in part, because the boy he shot was wearing a hood.
What follows is a sorrowful, infuriating litany of names that runs for a couple of pages:
Trayvon shouldn't have been one of the countless people wearing hoodies on that rainy night ... Michael Brown shouldn't have walked in the street. Nicholas Heyward (thirteen years old) and Tamir Rice (twelve) shouldn't have been playing ... Jonathan Ferrell and Renisha McBride shouldn't have needed help after car accidents ... (111-112)
The list culminates a page later with, "Eric Garner shouldn't have stopped breathing" (113). These "errors" at first feel increasingly arbitrary, but they are not. They are all equally so. Wearing a hooding or walking in the street is, yes, a more conscious and deliberate act than stopping breathing, but they are not reasons to die, and not, despite court rulings that demonstrate no regard for Black lives, justifications for murder.
The key is that it wasn't the hood. It was never the hood. The hood tells us nothing about Martin, and everything about Zimmerman, his defenders, the jury, the media. "The rhetorical uses of Martin's hoodie," Kinney writes, "revealed not his attributes, but those of the people who committed, rationalized, and exonerated the shooting of an unarmed teenager walking home" (109). Like the hooded prisoners being executed, this hooded boy was seen as somehow causing his own death by wearing a sweatshirt. Through the magic of the hood, victim is turned into the perpetrator, and the murderer becomes a victim. And we are all hoodwinked.
[...]
2 of 2 people found the following review helpful.
An Interesting Look at "Just" a Piece of Clothing
By Jenny M
This is a thought provoking look at how hoods have been perceived throughout history. I liked how the author noted that hoods are often used to hide unjust behaviors (KKK, executions, etc.) and also used as an excuse for racist behavior. This is an interesting book that covers some very difficult concepts. I look forward to reading future books by this author.
1 of 1 people found the following review helpful.
A Must Read for Anyone Interested in Social and Racial Justice
By SurvivalWriter
Hood is a must-read Object Lesson for anyone interested in social and racial justice. Not merely an obscure object of clothing, the ubiquitous hood has been used to hide, shame, protect, embolden and subjugate its wearers. Kinney brilliantly weaves together different anecdotes in order to bring a stunning portrait of the power and controversy that can surround such a simple piece of clothing. From hooded executioners, to hooded executioneers, from the KKK to Trayvon Martin, she delves into what the Hood has come to symbolize in our society. The first two chapters are the most cohesive and tightly knit, though I also appreciated the looser format of the subsequent chapters. I was especially touched by the last chapter's review of the Trayvon Martin case and the Black Lives Matter movement. In particular, I was impacted by the contrast drawn between wearers of the hood (or in this case, the 'hoodie')--how it is often criminalized when people of color wear them, but gains no such notoriety when worn by white people. It's a powerful comparison that underscores our highly racialized society and the still-pervasive influence of white supremacy. As Kinney asserts near the end of the book: "The history of hoods is that of people going about their daily lives only to face pain and injustice. It's also the history of people determining whose lives do and don't count, who is or isn't human, what is or isn't an object....So long as we all wear hoods, so long as we experience privilege or precarity in them, we're forced into the struggle between the humanizers and the objectifiers, between vulnerable lives and the reduction of people to objects."
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