In the late 1970s, while still an undergraduate, bell hooks penned the groundbreaking work Ain’t I a Woman, which saw its first publication in 1981. This seminal book offers a piercing critique of the intersections that define identity, politics, and culture, particularly focusing on the often overlooked experiences of black women. Hooks meticulously engages with the existing literature addressing issues vital to both black and white communities, underscoring the persistent absence of black women's voices in American discourse on race and gender. Her incisive critique was pioneering, with hooks being among the first to argue robustly for the interconnectedness of race and gender across all facets of society.

Upon release, Ain’t I a Woman received a lukewarm reception from white feminists and African American scholars alike. Hooks's forthright accusations of racism among white women, sexism among black men, and both attributes among white men were provocative and unsettling. Moreover, she critiqued the classist and elitist attitudes prevalent within these groups, calling for a critical shift in perspective that academia was unprepared to embrace.

Over time, however, the transformative impact of hooks’s work has become increasingly apparent. As scholarly discourse surrounding feminism, womanism, imperialism, racism, and capitalism has evolved in both scope and depth, hooks’s complex analysis has gained traction and recognition. The field of African American literature, in particular, has expanded, enriched by hooks’s insights that challenge the notion of a monolithic black woman’s identity or voice. Ain’t I a Woman highlights the multifaceted and layered experiences of black women, becoming a crucial reference point and influencing a new generation of scholarship. It has not only become widely cited but also laid the groundwork for hooks’s subsequent contributions, fostering enhanced and informed discourse in black feminist thought and practice.