Here I tease out the following ideas of bell hooks: 1. Our society valuing power over others as the paramount value, and rooted in the psychology of men. 2. This value playing out in drama as "the protagonist" as the center around which others must revolve, and often the only one whose name counts. 3. Oppositional gaze: the one who owns their justice perspective is the one who has the power to gaze at injustice [like Moses having the privilege to "gaze" at the taskmaster beating a Hebrew slave]. 4. Intersectional identity: our society tries to have our identities of oppression divided up -- say, of black, immigrant, poor, and woman-- because that plays into the system rather than seeing them all at once, at the "intersectionality" of our identites. 5. Finding our voice as loving ourselves enough to feel that we are fully ready to put that full loved identify forward, rather than perpetuating the system by finding ourselves falling short. 6. When we love ourselves, we can love others --meaning holding their ability to change into their full self-love and changing selves-- rather than fall back into power contests. These are applied the first six chapters of Exodus as: 1) Pharoah's actions about power over men, so he declares genocide on male babies (since they are a threat to him); men beating each other and finding this normal, and even threatening Moses with turning him in to show their power over him since his superior power identity is what they see, not his trying to help them. 2) Who has a name besides Moses? Not Pharoah. Not the Pharoah's daughter. Not Moses' parents, nor his sister. Not the handmaidens. Chapter 3 is all about "What is God's name?" to teach us that rather than the protagonist structure (one is important not the others), we are all equal as characters in God's story, rather than ego driving our own story where others play their parts in relation to us. 3) Oppositional gaze: Moses first leaves the palace grounds as a bar-mitzvah age teen, and he GAZES at what is happening and sees injustice. He "looks this way and that" because, as the midrash tells us, he is wondering why others aren't gazing at the injustice as he is. 4) Intersectionality: Is Moses Hebrew or Egyptian? He's both, and splitting the two up allows others to deny his subjectivity and power. Are the midwives Hebrew or Egyptian? Is Pharaoh's daughter powerful (as nobility) or powerless (as a woman)? The parashah continually plays on these ambiguous and intersectional identities. 5) Finding one's voice: this is the parashah of Moshe claiming he is poor of speech so he cannot speak truth to power, and he overcomes it. 6) Are the signs, wonders, and plagues just another power contest --the value basis of patriarchal society-- or is God trying to give Pharaoh chances over and over again to change, the basis of love though one must leave the relationship if one is not being treated the same in exchange?