Feminist Icons Quotes

The witch is the ultimate feminist icon because she is a fully rounded symbol of female oppression and liberation.

But more than anything, as a little girl, I wanted to be exactly like Miss Piggy. She was ma heroine. I was a plucky little girl, but I never related to the rough-and-tumble icons of children's lit, like Pippi Longstocking or Harriet the Spy. Even Ramona Quimby, who seemed cool, wasn't somebody I could super-relate to. She was scrawny and scrappy and I was soft and sarcastic. I connected instead to Miss - never 'Ms.' - Piggy; the comedienne extraordinaire who'd alternate eye bats with karate chops, swoon over girly stuff like chocolate, perfume, feather boas or random words pronounced in French, then, on a dmie, lower her voice to 'Don't fuck with me, fellas' decibel when slighted. She was hugely feminine, boldly ambitious, and hilariously violent when she didn't get way, whether it was in work, love, or life. And even though she was a pig puppet voiced by a man with a hand up her ass, she was the fiercest feminist I'd ever seen.

…all you can think about is Clara Barton, the feminist icon of your youth who had to teach herself how to be a nurse and endured abuse from men telling her what to do at every turn, and you remember being so *angry* and running to your parents and asking them if women still got told what was right or proper, and your mom said ‘Yes’ and your dad said ‘No,’ and you, for the first time, had an inkling of how complicated and terrible the world was…

Joan was not only an actual human being but a most important one. A FEMINIST ICON WHO PROVED TO THE WORLD THAT WOMEN CAN ROCK EVEN HARDER THAN MEN. An innovator, an architect, a punk rock pioneer so powerful, she inspired generations of young women to pick up guitars and do the same.

The conventional public opposition of 'liberal' and 'conservative' is, here as elsewhere, perfectly useless. The 'conservatives' promote the family as a sort of public icon, but they will not promote the economic integrity of the household or the community, which are the mainstays of family life. Under the sponsorship of 'conservative' presidencies, the economy of the modern household, which once required the father to work away from home - a development that was bad enough - now requires the mother to work away from home, as well. And this development has the wholehearted endorsement of 'liberals,' who see the mother thus forced to spend her days away from her home and children as 'liberated' - though nobody has yet seen the fathers thus forced away as 'liberated.' Some feminists are thus in the curious position of opposing the mistreatment of women and yet advocating their participation in an economy in which everything is mistreated.

A precious performance, Blaine had called it, in that gently forbearing tone he used when they talked about novels, as though he was sure that she, with a little more time and a little more wisdom, would come to accept that the novels he liked were superior, novels written by young and youngish men and packed with things, a fascinating, confounding accumulation of brands and music and comic books and icons, with emotions skimmed over, and each sentence stylishly aware of its own stylishness. She had read many of them, because he recommended them, but they were like cotton candy that so easily evaporated from her tongue’s memory.

Dr. Patricia Hill Collins, in her iconic work Black Feminist Thought: Knowledge, Consciousness, and the Politics of Empowerment.

The real thing that got me thinking were his female characters. Beatrice... Rosalind... Viola... Portia. They were feminists long before there was ever a woman's movement. But Shakespeare, in real life, had two daughters that he never educated. They didn't even know how to write their own names." Melina shook her head. "I just can't believe a man who created such iconic women in his plays wouldn't want his daughters to have the same rights.

Earlier still, woodblock prints known as lubki, popular in the 1600s and 1700s, are our earliest known confirmed representations of her. These decorations, originally fashioned from the carve-able layer of wood under the bark of linden trees, hung in the households of those who could not afford more expensive icons.

However, what stores like Urban Outfitters—and every mall goth’s favorite, Hot Topic—offer is unprecedented access to subcultures often out of reach for young people. Those in rural areas without a local witch shop or knowledge about the occultic side of the internet can be introduced to an entire subculture through these stores. Perhaps they will pick up a tarot deck first as a gag gift, and then look further into the ancient practice of divination, and maybe even learn about the feminist history of Pamela Coleman Smith, a member of British occult society the Hermetic Order of the Golden Dawn, who is responsible for creating the iconic images on the ubiquitous Rider-Waite deck. Where democratic dissemination ends and exploitation begins is tricky territory.

IF W.I.T.C.H. IS an example of feminist politics borrowing from the realm of mythos, then it should come as no surprise that feminist spirituality began to get more civic-minded in turn. Though there is evidence that some American Pagan covens existed as early as the 1930s, and Gardnerian Wicca had reached the States by the 1960s, the 1970s brought about a new style of witchcraft that was intent on “combining political and spiritual concerns as if they were two streams of a single river,” as Margot Adler put it. It took the framework of Wicca but gave it a much fuller emphasis on worshipping goddesses and honoring the female body. It also more blatantly reclaimed the witch as an icon of resistance against the patriarchy, following the sentiments of earlier pro-witch thinkers like Matilda Joslyn Gage and Margaret Murray, and the writings of radical feminists like Mary Daly and Andrea Dworkin.

Between 1970 and 1971, the feminist movement made significant strides. In 1970, the Equal Rights Amendment was forced out of the House Judiciary Committee, where it had been stuck since 1948; the following year, it passed in the House of Representatives. In response to a sit-in led by Susan Brownmiller, Ladies' Home Journal published a feminist supplement on issues of concern to women. Time featured Sexual Politics author Kate Millett on its cover, and Ms., a feminist monthly, debuted as an insert in New York magazine. Even twelve members of a group with which Barbie had much in common—Transworld Airlines stewardesses—rose up, filing a multimillion-dollar sex discrimination suit against the airline. Surprisingly, Barbie didn't ignore these events as she had the Vietnam War; she responded. Her 1970 "Living" incarnation had jointed ankles, permitting her feet to flatten out. If one views the doll as a stylized fertility icon, Barbie's arched feet are a source of strength; but if one views her as a literal representation of a modern woman—an equally valid interpretation— her arched feet are a hindrance. Historically, men have hobbled women to prevent them from running away. Women of Old China had their feet bound in childhood; Arab women wore sandals on stilts; Palestinian women were secured at the ankles with chains to which bells were attached; Japanese women were wound up in heavy kimonos; and Western women were hampered by long, restrictive skirts and precarious heels. Given this precedent, Barbie's flattened feet were revolutionary. Mattel did not, however, promote them that way. Her feet were just one more "poseable" element of her "poseable" body. It was almost poignant. Barbie was at last able to march with her sisters; but her sisters misunderstood her and pushed her away.

There’s a reason why Black women my age can recite lines from The Color Purple at will. The film is iconic because it dared, following Alice Walker’s lead, to suggest to America that Black women were the heroes and not the villains of the American national story. It dared to suggest to a watching world that the baggage we carry is not of our own stitching. And while we Black girls always recite these lines to each other in a humorous context, it is mostly humorous because just underneath the surface, the truth of what we say in jest leaps at us with the clarity of an Alvin Ailey performance.

She is, famously, a protean icon: a hero to nationalists, monarchists, liberals, socialists, the right, the left, Catholics, Protestants, traditionalists, feminists, Vichy and the Resistance.

Why didn’t she know more about computers? That knowledge suddenly seemed more important than feminist theory or eighties’ song lyrics, both of which she was well acquainted with. Computers had risen around her all her life, like a lake sneakily subsuming more and more arable land, but she’d never learned to write code or poke behind the icons or anything like that. She was like a medieval peasant confounded by books and easily impressed by stained glass.

Meantime, other “feminist bibles”had appeared, Simone de Beauvoir’s The Second Sex being the best. Which brings me to something no one believes. When I wrote The Golden Notebook it never occurred to me I was writing “a feminist bible.”The sixties feminists were not the first in the arena. “The Woman Question”dated from the fifteenth century. In communist circles in the forties and fifties feminist issues were much discussed. But the second sentence of The Golden Notebook is: “‘The point is,’said Anna, ‘as far as I can see, everything is cracking up.’“This is what I thought The Golden Notebook was about, as its “structure”said. Everything was cracking up, and by now it is easily seen that we live in a fast-fragmenting culture. So I became “a feminist icon.”But what had I said in The Golden Notebook? That any kind of singlemindedness, narrowness, obsession, was bound to lead to mental disorder, if not madness. (This may be observed most easily in religion and politics.)

After interviewing numerous upper-middle-class, Eastern Establishment women, I can say with certainty that most do not interpret the doll as an updated Neolithic fertility icon. They view her as a literal representation of a modern woman. Many object to her on feminist grounds—one hears the familiar "that body is not found in nature" refrain. Then the word bimbo arises. But let a woman talk longer—reassuring her that she's not speaking for attribution—and she'll express her deepest reservation: that "Barbie is cheap," where the whole idea of "cheap" is rooted in social hierarchies and economics.

Only a culture this backward could somehow anoint Hillary Clinton as a feminist icon. This woman makes it her business to ignore or denigrate the women who have accused her husband of sexual assaults, yet she still has the gall to declare that “every survivor of sexual assault deserves to be heard, believed, and supported.” Unless of course, they are women like Juanita Broaddrick and Paula Jones who threaten the Clinton empire and who should, in that case, not only not be “heard, believed, and supported” but dismissed, ridiculed, and savaged by the Clinton propaganda machine. In her latest strategy, she’s decided to adopt “blame-men-first feminism,” which earned her the criticism of actual feminist Camille Paglia.17 I guess men are just easy targets these days.

her imperative to “think dialectically”—a maxim drawn from her study of the philosopher G. W. F. Hegel. Because reality is constantly changing, we must constantly detect and analyze the emerging contradictions that are driving this change. And if reality is changing around us, we cannot expect good ideas to hatch within an ivory tower. They instead emerge and develop through daily life and struggle, through collective study and debate among diverse entities, and through trial and error within multiple contexts. Grace often attributes her “having been born female and Chinese” to her sense of being an outsider to mainstream society. Over the past decade she has sharpened this analysis considerably. Reflecting on the limits of her prior encounters with radicalism, Grace fully embraces the feminist critique not only of gender discrimination and inequality but also of the masculinist tendencies that too often come to define a certain brand of movement organizing—one driven by militant posturing, a charismatic form of hierarchical leadership, and a static notion of power seen as a scarce commodity to be acquired and possessed. Grace has struck up a whole new dialogue and built relationships with Asian American activists and intellectuals since the 1998 release of her autobiography, Living for Change. Her reflections on these encounters have reinforced her repeated observation that marginalization serves as a form of liberation. Thus, she has come away impressed with the particular ability of movement-oriented Asian Americans to dissect U.S. society in new ways that transcend the mind-sets of blacks and whites, to draw on their transnational experiences to rethink the nature of the global order, and to enact new propositions free of the constraints and baggage weighing down those embedded in the status quo. Still, Grace’s practical connection to a constantly changing reality for most of her adult life has stemmed from an intimate relationship with the African American community—so much so that informants from the Cointelpro days surmised she was probably Afro-Chinese.3 This connection to black America (and to a lesser degree the pan-African world) has made her a source of intrigue for younger generations grappling with the rising complexities of race and diversity. It has been sustained through both political commitments and personal relationships. Living in Detroit for more than a half century, Grace has developed a stature as one of Motown’s most cherished citizens: penning a weekly column for the city’s largest-circulation black community newspaper; regularly profiled in the mainstream and independent media; frequently receiving awards and honors through no solicitation of her own; constantly visited by students, intellectuals, and activists from around the world; and even speaking on behalf of her friend Rosa Parks after the civil rights icon became too frail for public appearances.

Elizabeth has often been hailed as a feminist icon. In fact, she shared the general belief in the inferiority of women and saw herself as a shining exception.

As Monica Crowley adds, ‘Hillary has spun herself successfully as a feminist icon, but even a cursory look at her career shows that she is the exact opposite. Hillary is not the feminist icon she holds herself out to be, but is instead a poster girl for anti-feminism. Here’s why: everything she has achieved has been derivative of a man. She was a well-connected attorney in Arkansas because she was married to the governor. She was co-president for eight years because she was married to the co-president who got elected under his name. She is a US senator because she was married to her co-president. She is a serious candidate for president today because of the man to whom she is married.

Feminist blogs and social media sites declared Mehreen “a destroyer of trolls,” “a legend,” and “an icon.” For this attitude, as well as for her tenacity, hopefulness, and hard work, Mehreen was awarded the feminist Edna Ryan Grand Stirrer award in 2017, particularly for her role in the decriminalization of abortion. She was named one of the one hundred most influential engineers in Australia, and for women in Pakistan, Australia, and around the world, she has won over hearts for being unapologetically, loudly, beautifully a “brown, Muslim, migrant, feminist woman.

Sylvia had become a feminist icon because nobody before her, no woman before her, Had emptied her whole soul of its rage Against all that had suppressed and denied her, Against all that had shut her from the life She had wanted for herself, from her freedom.

Laxmi Bai was a Brahmin born in the household of Peshwa Baji Rao II. Her original name was Manikarnika Tambe. And Jhalkari Bai? She was a Dalit born into a Kori caste family. Jhalkari Bai offers us many reasons to celebrate her as a brave Dalit woman who took it on herself to enter the battlefield and fight the colonizers. She epitomizes the chivalry of a women warrior who violated all the regressive religious codes that confined women to kitchen and family. But a modern feminist icon with her name remains missing.

Since 1971, an iconic image of a silhouetted woman has moved from truck mudflaps into popular culture. She is perceived through the eyes of people who live in different decades. Mudflap Girl has at different times been considered a reflection of male self-image, symbolic of declining family values, and a feminist figure. However, even as an empowered woman, her identity has been problematic. Is she a mainstream inspiration, a subcultural icon or an unrealistic representation of the female form? Is she more than just a two dimensional figure based on her appearance? What is her story? And most mysteriously, who is she?

In shame Eve hides her nakedness. Asherah celebrates hers. Many Asherah icons (described as false idols) are pillar-shaped, with sacred breasts, yoni-portals and Hathor wigs, suggesting her primordial, fertility magic had reach. Asherah, Ashtoreth, Elath, Athtar, Asthtar, Astar, Astarte and Ishtar are avatars of the same Goddess, suggesting fluidity. The Goddess morphs depending on people’s needs and location. She blows in the wind, rolls with the river and moves with the cosmos. She is not static and fixed in the sky. Love in the time of Asherah was far more free. Asherah’s symbolism shape-shifts from tree to vulva expressing the unfettered scrolling and unfurling of nature’s fertility, in an ecstatic release of healing, renewal, and enlightenment, rippling out into the yoni-verse as a loud, tantric and rapturous OHM. Let’s put our eco-feminist crowns on, go out into the night and walk beneath this cloak of stars, pondering the ghosts of desecrated forests. Let’s sit with the cutting; the burning; the felling of trees; the desecration of nature; land, devoid of shade, parched and ashen; the Goddess destroyed; Divine Female wisdom trod beneath the rubble. No other species is destroying its own home (Mother Earth), or pummelling life with such endless violence. Eyes and knuckles locked in an epic battle across the beating heart of Mother Earth, the centre of self, the still point around which all else spins, Asherah is staring down the unhoused, man-beast archetype. The depths of knowledge pooling in her eyes pre-date his. She’s challenging the belief that the psycho-socio-sexual-politico-emotional world order, set up for men, justifies abuse, violence and destruction. She’s reflecting this abuse, violence and destruction back at him. She’s telling him the separation of consciousness is illusionary. Goddess is in every living thing, not outside and above. Not power over. Empowerment of.

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A final point on this poem, & RH as a poet. 1 of the great conflation made in criticism of poetry is the terms great & important. They are 2 different things. There are great poets who are not particularly important. In this camp would be an Edgar Allan Poe, Pablo Neruda, Emily Dickinson, Rudyard Kipling, Ezra Pound, Robinson Jeffers, & Countee Cullen, among some others. These are poets for whom there is no doubt that great poetry sprang from. BUT, their work did not have a profound effect on the advancement of the art form of poetry. They were either technically superb craftsmen who were the best at their craft but wrote on things, & in ways, similar to others. They were simply better. Here would be Poe, Kipling, & Cullen. Or they were inventive & unique, but while inspiring devotees, never gave rise to poetic heirs. Here is Dickinson. Or they were hit & miss poets who often set back the art. Here are Neruda- whose great personal, lyric, & love poems in a traditional vein were counterbalanced by his atrociously puerile political & ‘experimental’ poems. Also in this category- despite his High Modernist credentials, is Ezra Pound. Most of his great poems are in ancient forms, in mock fashion. An envelope-pusher he was not- although he spurred TSE to greater heights than he was capable of by himself. Then there is a Jeffers- a poet who was superb; yet mystifyingly left little impact- most likely due to his reclusive personae & political prophesying. Yet all these poets touched the ineffable at least a few times in their careers. A 2nd camp are those poets who are important but not really great poets. Their poems had significant impact on the art, but the poets’ work, overall, rarely touched greatness. In this camp would reside a T.S. Eliot- whose whole career consists of 5 or 6 near-great to great poems & a passel of shit, William Carlos Williams- whose prosaic approach to poetry overshadowed the fact that he only had 10 or 12 good 10 line or less poems in his arsenal, Arthur Rimbaud- whose impact was more on the ‘cult of the poet’ than on the art form, Anna Akhmatova- whose import was more as ‘functional state treasure’ than persuasive writer, Allen Ginsberg- who has 12 or so great poems that showed new boundaries & subject matter could work in poetry, but also wrote a passel of utter doggerel, & Derek Walcott- who, despite early promise, has a body of banal poetry, yet opened the way for several generations of non-European poets’ poetry to find a Western audience. None of these poets will stand too tall in the coming centuries for their work, but- their impact on varied aspects of the art is undeniable. This is the difference between the 2. Greatness is about how much the art succeeds & stands alone, Import is on the non-artistic aspects of the work & poet. Of course, a 3rd category exists for those poets that were great & important. Whose excellence & import is undeniable. In this camp would reside John Donne- the 1st English language poet with a Modern mindset, if not vocabulary, Walt Whitman- whose work revolutionized subject matter, & led to the war against formalism, Charles Baudelaire- who did the same as Whitman in French, Stephane Mallarmé- whose fragmenting of form led directly to Eliot, but whose work has held up far better despite being older, Hart Crane- who created lyric epopee, & whose verse reached in new directions in new ways- cracking the ekstasis of poetry open & truly inventing the REAL Language poetry of the 20th Century, Marina Tsvetaeva & Sylvia Plath- the 2 women who became iconic Feminist heroines with legions of acolytes worldwide, yet wove together brilliant poetry despite mental illnesses, & Wallace Stevens- whose great poetry has given heart to legions of poetry lovers who appreciate games played with beauty & philosophy.