Gloria Jean Watkins came roaring into a segregated world that was unprepared for the robust impregnability of a young Black girl’s voice. Raised by a man who worked as a janitor for the United States postal service and a woman who worked as a maid for white families, Gloria Jean described her rural childhood as “a rich magical world of southern black culture that was sometimes paradisiacal and at other times terrifying.” Amongst a white hegemony that could offer both the benefits of literature and the punishments of discrimination, Gloria Jean, a loner with “too much spirit”, crafted one of the most enduring identities in American social critique. bell hooks.
bell hooks, a pen name borrowed from her maternal great-grandmother and stylized in lowercase in order to decenter the author, would go on to write nearly seventy published works, spanning from poetry and children’s literature to memoirs and magazine articles. While hooks is perhaps best known for her foundational contributions to the modern conceptualizations of intersectionality, the initial focus of this reflection is a small book of poetry released in 2012.
Even as a child I knew that to be raised in the country, to come from the backwoods, left one without meaning or presence. Growing up we did not use terms like ‘hillbilly.’ Country folk lived on isolated farms away from the city; backwoods folks lived in remote areas, in the hills and hollers. To be from the backwoods was to be part of the wild. Where we lived, black folks were as much a part of the wild, living in a natural way on the earth, as white folks. All backwoods folks were poor by material standards; they know how to make do. They were not wanting to tame the wildness, in themselves or nature. Living in the Kentucky hills was where I first learned the importance of being wild.The collection itself, a series of “intimate untitled poems”, is a meditation on the threads that bind us, for better or worse, to our places of origin. Interrogating the enduring ways that ancestry tattoos our personage long after we leave the places we once called home. hooks’ exploration informally tracks her return to her Kentucky birthplace “blending memory with the harsh realities of destruction and the erasure of Black Appalachian history." While the work does not present a singular, nor stagnant iteration of what it means to claim an identity rooted in the rural, the introduction does, notably, distance the work from the concept of terms like 'hillbilly', a rather ironic sentiment, given what followed just four years later.
At the time of its release, there wasn’t significant notice taken, at least in most circles, of the similarities between hooks and Vance’s titles. The Hillbilly Elegy Wikipedia entry makes no mention of hooks’ work, despite referencing several other Appalachian literatures. Perhaps that is suitable, titular similarities are hardly rare in the realm of publishing, and beyond their rural origins, no one has evidenced any particular connection between the two authors or that Vance has any knowledge of hooks and her writings. The similitudes were, it seemed, pure chance.
A spiritual exploration of what it means to be a Christian in all the seasons of life JD Vance has experienced—as a child, a young man, a husband, a father, and a leader. Picking up in some ways where Hillbilly Elegy left off, Communion recounts how Vance's pursuit of material privileges ultimately led him into a secular wilderness. Communion reveals how Vance regained his faith and discusses his conversion to Catholicism, how his faith guides his work in public life, and how it shapes his thoughts about the future.Given the subject matter, the title is entirely apropos. Communion is defined as “the sharing or exchanging of intimate thoughts and feelings, especially when the exchange is on a mental or spiritual level." As such, on its face, there is nothing particularly noteworthy about Vance’s selection. However, as first noted by Claire Guinan for Jezebel, what is noteworthy is that his book isn’t the first to bear that title. Who else wrote a book titled Communion? Well, bell hooks of course.
On the sliding scale between complete coincidence and full-blown conspiracy, it is unclear where this story situates itself. While I find it difficult to suggest that Vance is uniquely plagued by a desire to co-opt the titles of hooks, to suppress her works to make room for his own; that is, in many effects, exactly what is happening. If you conduct a simple Google search for ‘elegy book’ or ‘communion book’ his works appear before hers in both iterations.
In theory, there should be room for a multitude of rural voices, but critics are beginning to express concern that Vance’s parallelism is hostile in either intent or effect. Guinan writes “I’m choosing to believe that [Vance] is a huge fan, rather than the other, more likely option, which is that he is appropriating IP from a prominent black, feminist voice.” Author B.N. Russo further opined:
Not only is this plagiarism of a Black woman’s work, it’s also search engine manipulation and keyword appropriation that will result in the detraction from Black feminist thought. Now, a student searching for “Communion book” may find promotional resources for a pseudo-religious political propaganda piece, rather than resources on hooks’ critical social philosophies. In this moment of attacks on Critical Race and Feminist Theories, removal of sociology studies from state schools, historical revisionism in National Parks, schools, and museums, censorship of public service organizations and institutions, book banning, ‘DEI’ investigations, and curriculum challenges, this is de facto censorship in the digital age.
Further readings
For further reading on these subjects please direct your attention to the following blog posts:
“On bell hooks: Black, female, working class and ‘semirural’”
“J.D. Vance pulls ahead in race for Republican nomination for U.S. Senate seat in Ohio, prompting comparisons to positions he took in his book”
“Hillbilly cosplay and the privilege coverup”









