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All the Feels (Resistance (Radical Hope (There is an important distinction…

- - - - Its relevance to Radical Hope
        Anzaldua's piece on her pride in her language and the malleability of such a language that gathers so much criticism shows the hope that she has in the future through her language.
        "Ethnic identity is twin skin to my linguistic identity — I am my language. Until I can take pride in my language, I cannot take pride in myself." (81)
      - Its relevance to "Irrationality and Rationality"
        Choosing to not try to fully assimilate to predominately white academic language may sound counterproductive to our goals and places as POC, but Anzaldua's justification for the love of her language shows transcendence from trying to prove using "rationality" and "logic."
- - - - Its relevance to Collective Anger
        On the Harlem Riots: "None of this was doing anybody good… It would have been better, but it would have been intolerable, for Harlem needed something to smash." (112).
      - After the experience with the waitress: "I saw nothing very clearly but I did see this: that my life, my real life, was in danger, and not from anything other people might do but from the hatred I carried in my own heart. " (99)
    - - Its relevance to Collective Anger
        The idea of affective injustice as a psychic tax on those who face injustice as a community would help irritate, push, force and mobilize this apt emotional response eventually.
- - - - Cruising Utopia by Jose Esteban Muñoz
        and
        "Can Hope be Disappointed?" by Ernst Bloch
        These two theoretical texts on hope help outline that hope should be seen as not only an affect, but rather also a methodology. Bloch makes distinctions between certain types of hope, like lower unmediated and well-founded hope. Bloch and Muñoz point at the hope that is needed for movements like the resistance against the AIDS crisis and really any movement in our lives. Bloch even likens hope to a kind of "salvation."
      - "The Transformation of Silence into Language and Action" by Audrey Lourde
        In this text, Lourde implores her audience to speak out. Lourde basically outlines why it is so important to speak out, and the most poignant reasoning, for me, was that as a minority, "we were never meant to survive." "And that visibility which makes us the most vulnerable is that which also is the source of our greatest strength. Because the machine will try to grind you into dust anyway, whether or not we speak." (42).
      - The Brief Wondrous Life of Oscar Wao by Junot Diaz
        In this novel, Diaz follows the life of Oscar de Leon, an overweight Dominican American boy who can only think of love and fantasy, despite his quite tragic life, in the context of his life at home, his barely existent love life, and his overwhelming loneliness. The novel is a story of Oscar's tragic yet triumphant life despite his family's still palpable connections to colonialism. Diaz's idea of decolonial love is a form of radical hope: it's the very thin silver lining to distract but also to finally detach one's self from the pain of past and living associations. Decolonial love, like radical hope, doesn't necessarily win, but when it does, it's against all odds.
        
        Its relevance to Inheritance: Intergenerational Trauma
        The trauma that Belicia carries from immigration, failure to find decolonial love, the anti-blackness in her community, and her life as an immigrant is transmitted to Oscar and Lola in very different ways, but the children both have to deal with the trauma that Belicia carries in the way she raises them and both of their lived experiences as first-generation children of immigrants.
  - - - The Reluctant Fundamentalist by Mohsin Hamid
        In this novel, Hamid depicts the life of a successful Pakistani Princeton graduate, Changez, at an impressive finance firm, before and after 9/11, and how his life changes. Changez, after 9/11, begins to grow increasingly bitter and angry at the US and his American associates because of how Americans would treat him as a brown man, how American media would depict attacks against these "terrorist" countries, and the apathy that Americans had for his home country. I think how Hamid depicts the idea of collective anger is a bit less explicit than the other pieces because rather than a depiction of a group of minorities expressing their collective anger, Hamid depicts Changez as a bit of a model for this anger that is felt by a vast amount of people. I believe that Changez is representative of collective anger felt by brown communities: innocent and faultless, yet vilified and excluded from their own communities.
      - Moving Politics Excerpt by Deborah Gould
        In this text, Gould outlines ACT UP's rapid, powerful, and effective mobilization of anger against the AIDS epidemic that the government and mainstream media didn't seem to care about while the queer community lost someone they cared about seemingly daily. Gould puts quite a focus on how ACT UP, the AIDS Coalition to Unleash Power, mobilized the queer community through intensive emotion work that harnessed the widespread paralyzing grief into anger, into action. The Names Project Memorial Quilt project, a quilt with thousands of patches to honor victims of the AIDS Epidemic, is introduced by Gould to contrast to ACT UP's direct action activism and response to these deaths. While the quilt focused on public and collective grieving within the boundaries of respectability politics, ACT UP focused on action as a collective, collective grieving through collective anger, and began to change the homophobic, racist, and sexist narrative on the AIDS epidemic. "SHOW YOUR ANGER TO THE PEOPLE WHO HELPED MAKE THE QUILT POSSIBLE: OUR GOVERNMENT" (Gould 225).
      - Selected Works by Gran Fury
        
        The anger that permeates from these raunchy works and references to past failures of the government give no space for respectability politics.
      - Twilight: Los Angeles directed and performed by Anna Deveare-Smith
        The cinematic rendition of this one-woman show about the LA Riots chronologically outlines what led to such an event, how it went down for vastly different people, and what it meant to be oppressed and angry. From the brutal beating of Rodney King by white cops and the murder of Latasha Harlins by Soon Ja Du, a Korean business owner, Deveare-Smith depicts the development of race tensions across all different lines and presents them with nuance, context, and quite a lot of diversity in viewpoints. In a complicated case of the LA Riots, it's extremely difficult to distinguish who is victim or perpetrator, but this anger that is carried by the minorities who were involved, shown through Deveare-Smith, permeates through every other emotion that is depicted, such as grief, disbelief, and alienation. Through Deveare-Smith's, the audience is able to understand collective anger within different contexts and groups: the lack of justice for the Black community, the hostility between the Latinx and Black community, the anger against the Koreans as a result for the lack of justice, the disbelief of the Koreans from the alienation from public authority, and other nuances. Anger, as the collective emotion for the LA Riots, served as a kind of coping mechanism for the people of color in LA whose systematic transgressions that they had been served pushed them over the edge.