51 pages • 1 hour read
In both theory and practice, intersectionality is indispensable to Pushout. Intersectional theory informs Morris’s thesis argument that Black girls are uniquely targeted by the pushout phenomenon due to their position as Black and female; she also relies on intersectionality to conduct specific chapter analyses. The theory is also the foundation for the practical solutions in her closing sections. Intersectionality is the most essential theme to Pushout’s function as an educational, active text.
Intersectionality is a social theory that interprets a person’s whole identity as composed of multiple components (i.e., one’s race, gender, sexual orientation, ability, etc.). These different identities intersect and inform each other, creating a composite identity “that shapes how people see themselves as much as how others see them” (23). Each person’s intersectional identity thus plays a significant role in how they live. It is an essential component to both interpersonal relationships as well as one’s position in society; this principle is illustrated by Pushout’s simultaneous analyses of how Black girls’ experience oppression on a systemic scale and through their everyday school relationships.
This understanding of identity and social relationships can be traced back to the early 20th century. The first chapter does so by incorporating W. E. B. DuBois’s concept of “double consciousness” into the definition of intersectional theory. DuBois explored double consciousness in his seminal work from 1903, The Souls of Black Folk. In this text, he described the feeling of navigating American culture as a Black man: “It is a peculiar sensation, this double-consciousness […] One ever feels his two-ness,—an American, a Negro; two souls, two thoughts, two unreconciled strivings; two warring ideals in one dark body” (DuBois, W. E. B. The Souls of Black Folk. Oxford University Press, 2007, p. 8). DuBois was among the first to articulate how multiple facets of his selfhood—these being his American-ness and Blackness—interacted to compose his whole identity. DuBois lamented that because of the country’s racist system, his Black American identity was cleaved into warring halves. Though the terminology of “intersectional theory” had yet to be invented, DuBois’s interrogation of identity and how the different facets of self—particularly in regard to race—influence one’s situation in American society paved the way for future scholarship on the topic.
Intersectionality did not truly rise to prominence as an academic theory until the late 20th century, when discussions of civil rights grew to include movements that were specific to certain races and ethnicities, genders, sexual orientations, etc. Although the specific term “intersectionality” was not coined until 1989 by professor Kimberlé Crenshaw, there was a significant movement of scholars, activists, and community leaders who championed intersectional work and theory from the mid-to-late 20th century. One prominent scholar who advanced the theory before its technical “invention” was Angela Davis. Davis was a key member of the Black Panther Party, a revolutionary Black organization in the late 1960s and 70s that represented the era’s radical growth of civil rights and its efforts to build an inclusive form of social justice. The Black Panther Party itself was founded on intersectionality, as the Party fought for liberation from racial, gendered, and class-based oppressions. Angela Davis built off of the Party’s goals and worked, in particular, to advance the discussions on the intersection between race and gender. This is reflected in her foundational 1981 work, Women, Race & Class, which studied the role of race and class in the history of women’s liberation in the United States. This work has clear connections to Morris’s research, particularly in chapters such as “The Meaning of Emancipation According to Black Women.” The chapter includes analysis of the unique physical and emotional burdens (such as long work days, verbal assault, and sexual abuse) suffered by Black women who worked in domestic service in the late 19th and 20th centuries. Davis’ argument—that Black women suffered uniquely because of their situations as Black and female—mirrors the argument made in Pushout. The historical through-line between their research illustrates intersectionality’s expansive academic legacy.
One of the prime assertions made in Pushout is that “gender has become the third primary ‘consciousness’ informing the experiences of Black women and girls” (29). This perspective connects directly to both DuBois and Davis. Utilizing DuBois’s language identifying multiple sites of “consciousness” to visualize intersectional identity, Morris draws from Angela Davis’ framework and creates new insight with her own argument. Just as DuBois felt the tension between his Blackness and American-ness, Morris asserts that Black females feel their own, unique turmoil as their race and gender identities are at war with the racist, sexist attitudes they have internalized as a result of being raised in the United States.
Morris uses this intersectional perspective—arguing for gender as a third consciousness—as the foundation for all of her solutions put forth in the closing portion of her book. Appendix B, for instance, has an entire section of analysis that reads theories of restorative justice in context of Black girls; Chapter 5 also names a race-conscious gender analysis as its first proposal for an immediately actionable solution. The text’s applications of intersectionality transcend theoretical analysis and are incorporated into the book’s practical elements; this theory forms the very spine of Morris’s work, unifying socio-political analyses with the ultimate goal to revolutionize American education. Morris strikes a dynamic conversation with historical intersectional scholarship, and she uses her theoretical arguments to offer practical solutions. This fruitful balance of theory and action makes Pushout an important addition to the discipline of intersectional theory and research.
Though Pushout studies the contemporary issue of Black girls being criminalized in educational spaces and pushed out of their classrooms, it relies heavily on history. Throughout her book, Morris makes particularly fruitful observations on the pushout phenomenon by reading current events through a historical lens; indeed, one of Pushout’s strengths is how it contextualizes the struggles of the current generation of Black girls within a larger historical trajectory of America’s racial and gendered methods of oppression. The text’s insistent connections to the past and its efforts to trace the evolution of American attitudes, culture, and ideology make Pushout’s thesis as historical as it is contemporary.
One of Morris’s principal concerns is how racism and sexism are embedded in facets of everyday life. Through Pushout’s historical connections, she analyzes how educators and the girls have internalized harmful stereotypes about Blackness and Black femininity. Due to America’s historical legacy of racial and gendered prejudice, oppressive attitudes pervade the national culture; these inescapable attitudes hugely influence both Black girls and their educators. Here, there is a clear exchange between cultural products and dominant ideology. In Chapter 2, for example, Morris draws in Black feminist scholar bell hooks’s analysis of the Amos ’n’ Andy Show to argue media objects’ significance in constructing, maintaining, and disseminating harmful ideologies. Morris describes how the Black woman on the show was “nagging and combative with her husband” (59), reinforcing popular misunderstandings of Black women being “dominant, overbearing, and unreasonably demanding of Black men—an idea that stands directly in opposition to the norms of what White femininity is supposed to be, which is passive, frail, and deferential to men” (59). While the Amos ’n’ Andy Show was from the 1940s and 50s, it portrayed stereotypical images of Black femininity that fueled the dominant cultural misconceptions of Black women—and those very same misconceptions still perpetuate through contemporary memes, television shows, music videos, etc. Pushout thus clearly establishes the historically close interrelationship between culture, ideology, and social practices enforcing Black female oppression.
Pushout demonstrates that slavery, while abolished in 1865 with the 13th Amendment, still grips American society. Morris’s historical connections establish a clear ideological through-line between slavery-era practices and contemporary educational practices and social relationships. This is especially true in the dominant cultural understanding of the “proper” behavior for Black girls, which is deeply rooted in slavery; all of the stereotypes of Black femininity Morris critiques (e.g., the “Angry Black woman” and the “jezebel”) have recorded origins in slaveholders’ attempts to control the behavior and justify the abuse of Black women who were not adhering to normative white conceptions of femininity. Morris argues that these stereotypes lead to school staff unduly punishing Black girls, who then reactively lash out due to the abusive atmosphere.
When Morris asserts that historically racist ideologies form the basis for contemporary social interactions, her argument is historical in and of itself. Morris writes how “disobedience” is a historically liberating act, especially for Black women:
Born into a cultural legacy of slavery, Black American women have interpreted defiance as something that is not inherently bad. Harriet Tubman was defiant. So too was Sojourner Truth and countless other enslaved women who dared to reject oppression (19).
For Black women through American history, when attempting to navigate an oppressive society, defiance is not “bad behavior”—it is asserting one’s agency and humanity.
While Morris focuses on American Black women’s defiance, her ideas also relate to a wider theoretical web of global Black resistance—particularly regarding anticolonial thinkers. Frantz Fanon, a prominent scholar from Martinique who studied the psychological effects of colonization on the oppressed, wrote the deeply personal Black Skin, White Masks. The work delves into his personal observations and philosophies on Blackness, systemic oppression, racist violence, and resistance. In his chapter “The Fact of Blackness,” Fanon reflects on living in a world dominated and defined by whiteness and being viewed every day through a prejudiced lens (notably, a feeling routinely articulated by the Black girls interviewed in Pushout). He views the fact of Blackness as being routinely objectified by the other—the white man. Fanon mused that the only escape from the suffocating trap of objectification was through disobedience and rejecting Western conceptions of Blackness: “I resolved, since it was impossible for me to get away from an inborn complex, to assert myself as a BLACK MAN. Since the other hesitated to recognize me, there remained only one solution: to make myself known” (Fanon, Frantz. Black Skin, White Masks. Grove Press Inc., 1967, p. 115). Fanon’s Black Skin, White Masks argued that through disobedience, one reclaims agency and defines oneself through one’s own terms, rejecting the definition imposed by those in power.
In her argument that schools replicate the historical structures of power that oppress Black girls and provoke their “disobedient” behaviors, Morris engages a larger history of Black scholarship and resistance politics. This is especially true in Pushout’s descriptions of how Black girls feel trapped within the degrading stereotypes their educators project onto them; there are compelling parallels between Fanon’s frustrated observations of colonial powers and these Black girls’ feelings towards their teachers. Through such historical connections, Pushout transcends the confines of American culture and history. The text interacts with a larger, global framework of the history of Black oppression—and most importantly, resistance.
Whereas Pushout’s other themes speak to the book’s theoretical content, a unique facet to Morris’s book is that its proposed solutions use theory to implement real-life changes. Above all, Morris intends Pushout as a resource in revolutionizing the American education system. The changes and solutions proposed throughout her book emphasize its practical function. Morris even includes detailed appendixes to give targeted, in-depth practical support. At the same time, she emphasizes the importance of collaboration and collective efforts in instituting any changes to American education. The solutions are not final; rather, this thematic portion of Pushout encourages reader interaction and future debates.
In terms of Pushout’s intentionality as a practical resource, its most important sections are the two appendices at the end of the book. Appendices A and B both provide a wealth of resourceful aids for Black girls, educators, parents, and community leaders alike. Appendix A includes a Q&A for girls answering questions on sex trafficking, how to deal with one’s emotions in triggering environments, and why school is an important life investment; Morris also provides a Q&A for adults to help girls navigate such issues. Appendix B targets educators, administrators, and policymakers, conducting detailed analyses of alternatives to punishment that would benefit Black girls in the classroom and transform how school functions in the lives of children. Morris’s solutions are intersectional and inclusive, providing aid to girls who are queer, trans, and questioning. Morris draws multiple marginalized identities into the scope of her concern and gives voices to those girls who are often forgotten even by feminist activists.
Central to Pushout’s solutions-oriented theme is its philosophical framework. Morris does not intend Pushout to be the end-all, be-all resource on the pushout phenomenon; rather, she wants her text to spark discourse about the needs of Black girls in spaces where their needs were previously ignored or altogether forgotten. The philosophy of collaboration is the engine driving Morris’s theme of proposed solutions. Her idea on how to re-examine school dress codes, for instance, includes Black girls in the policy-making process; Morris insists that dress codes should be “co-created with a representative group of students and then communicated via peer-led processes” (185). This idea of student involvement—with students writing the codes that impact their own lives—reflects the ideological basis of Pushout’s solutions. The text aims to dismantle controlling power structures and build truly democratic relationships in both schools and communities.
Morris’s solutions are purposefully democratic and require the efforts of many. Communal networks of support are absolutely essential to Black girls’ success. Morris writes later in Chapter 5,
We want girls, their parents, educators, health professionals, sexual abuse and trauma experts, justice professionals, the business community, artists, faith leaders, scholars, and advocates to work together toward a shared vision of collective uplift, of cooperative investment in the well-being of Black girls (192).
Pushout continually emphasizes this “all-hands-on-deck” mentality throughout the entirety of its text, proving collaboration as the foundation for its theme of solutions.
Morris also illustrates her collaborative philosophy in how she presents her solutions. In Chapter 5, Morris bases her prioritized solutions on her field interviews, but she also explicitly quotes the girls she interviewed, giving readers direct access to the girls’ opinions. On pages 190 and 191, for instance, five girls are quoted across a two-page span, each giving their own interpretations of how educators can respond to Black girls’ needs. Here, Morris does not act as the authoritative intermediary who “translates” the girls’ words and presents them differently to readers; instead, she quite literally allows the girls to speak for themselves and tell her readers what they need from their communities. Morris uses her book as a site of collaboration, pairing her scholarly analysis alongside the real-life experiences of the Black girls she interviewed. Pushout is a labor of love built by Morris and the girls themselves. The text itself embodies its solutions-oriented theme in real life.
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