Published in Women: A Journal of Liberation, Linda Gordon breaks down the nuclear family dynamics into nine main points. Through the exploration of the nuclear family structure, Gordon brings insight into the reasons women are seeking liberation from the confinement of the family during the Second Wave Feminist Movement.
One issue Gordon critiques is the social framework the family is built on: a working husband and a woman and her children at home. Gordon shares that this framework “keeps women and children isolated” (Gordon, 20). The nuclear family allows for only the husband to be free while isolating the mother and children from society. Women are boxed in their homes and are expected to maintain all household duties. Patriarchal society deems women essential to the home, yet holds no real respect for their hard work. Gordon reveals why many women during the Second Wave Feminist Movement sought liberation from a confining homelife.

Barb Hayes draws the stages of a woman’s life. The iron symbolizes a working woman, the ring symbolizes marriage, and then there is an outline of a family.

Gordon also sheds light on the repression of women’s sexuality and sexual expression. Gordon states that “women in families are trained to see themselves primarily as mothers and reproducers, not as enjoyers of sex” (Gordon, 20). Gordon exposes how before starting a family, women are only viewed as sexual objects by men. After a woman settles in with a man, she is no longer supposed to engage in any form of sexual expression or activities unless it is for reproduction. The nuclear family structure restricts all forms of sexual expression and defines women as mothers. Gordon’s solution to sexual repression can only be reached through “collective effort,” which the Second Wave Feminist Movement helps to promote (Gordon, 21).

Jacqui Linard illustrates a woman sitting by her windowsill. The woman has a contemplating face while she stares out the window.

Gordon continues to critique how the structure of the family creates a sense of “fulfillment” in gender roles. Gordon uses the role of a mother to prove the point that “a mother is forced to think of herself as ‘mother’ and to approach the whole world as ‘mother’” (Gordon, 22). Women are directly associated with motherhood and are expected to represent themselves as mothers: loving, nurturing, and selfless. Fighting for liberation will provide women with a new definition for themselves–– one that reflects their individuality. Breaking these roles will end conformity and promote individualism among all women in society.

Gordon ends her essay by proposing that the nuclear family must be destroyed. Falling victim to a nuclear family framework will only support the expectations and roles society has placed upon women. Therefore women need to encourage other women to take the initiative of creating a new family unit where inclusion and needs of women are prioritized.

Works Cited:

Gordon, Linda. “Functions Of The Family.” Women: A Journal for Liberation, vol. 1, no.2, pp 20- 24.

Hayes, Barb. “Untitled.” Women: A Journal for Liberation, vol. 7, no.2, pp 59.

Linard, Jacqui. “Untitled.” Women: A Journal for Liberation, vol. 4, no.3, pp 38.

Women: A Journal for Liberation, vol. 1, no.2, Winter 1970.

Women: A Journal for Liberation, vol. 4, no.3, Spring 1973.

Women: A Journal for Liberation, vol. 7, no.2, Winter 1976.

“Belinda Berkeley” by Irina, a political comic strip published in It Ain’t Me Babe, illustrates the irony of a husband critiquing the Second Wave Feminist Movement. It Ain’t Me Babe is a radical feminist newspaper created the Berkeley Women’s Liberation in Berkeley, California in 1970. This cartoon focuses on the partner dynamics of a stay-at-home novelist husband and a wife who is an active member of the movement.

“Belinda Berkeley” by Irina is a political comic strip illustrating the partner dynamics during the Second Wave Feminist Movement.

The first two panels illustrate Buzz’s annoyance at Belinda for not taking care of the household duties before leaving for her women’s liberation meeting. Buzz says with frustration, “She could at least have cooked dinner for me!” (Irina 20). This criticism from Buzz demonstrates how men diminished the women’s mission for liberation during the Second Wave Feminist Movement. Men expected women to prioritize the nuclear family and its duties before taking care of themselves, confining women to the role of a housewife. The next two panels reveal the irony behind Buzz’s irritation when he says, “Sure some men are male chauvinists, but I’m not like that!” Buzz continues to say “I mean, sure I agree, with their aims, but it’s the methods they use! So strident, so militant, so-so unfeminine!” (Irina 20). Buzz claims he is not a chauvinist but undermines women’s methods for their liberation. Like Buzz, many men believed the radical feminists participating in the movement were masculine, opposite of what women should present themselves as. Buzz conforms to the social stigma that women are supposed to be feminine by describing the methods as “so-so unfeminine”; yet he still claims he is not a chauvinist.

Published in the same newspaper, Jennifer illustrates many morphed faces of women with the caption “Free our sisters; Free ourselves.” Many women sought liberation from their controlling spouses and found solidarity with other women during the movement.

Buzz continues to express his misogynistic views through slurs and rude remarks, claiming women participating in the movement are a “bunch of dykes in boots and sweatshirts” and “old maids who can’t get a man anyway!” (Irina 20). Buzz resorts to a misogynistic attack as a response to his threatened masculinity. Calling women “dykes” fuels his frail masculine image and creates a superior complex against women. The hint of a homophobic tone demonstrates how Buzz is afraid that Belinda will join these “dykes” and “old maids” in challenging the confining nuclear family and the restricting society.

The cartoon ends with Belinda coming home and noticing the irritation on Buzz’s face. Belinda immediately asks Buzz if something is wrong as Buzz sits on a couch with droopy eyes and shrugged shoulders ignoring her. The ending line of the cartoon states, “Or maybe gang, this time it’s something Buzz is being forced to swallow?” (Irina 20). Buzz’s hypocrisy and misogynistic views are being challenged by his own wife. He is being forced to swallow his masculine insecurity and forced to acknowledge the momentum and power the feminist movement gave women.

Works Cited:

Irina. “Belinda Berkeley.” It Ain’t Me Babe, vol. 1, no. 9, pp 20.

It Ain’t Me Babe, vol. 1, no. 9, July 2-23 1970.

Jennifer. “Untitled.” It Ain’t Me Babe, vol. 1, no. 9, pp 19.

Lydia D Kelly’s untitled poem featured in Women: A Journal For Liberation, redefines motherhood in a nuclear family by addressing the unspoken truth of postpartum depression. According to the Centers for Disease Control and Prevention (CDC), one in eight women experience symptoms of postpartum depression, which include feeling disconnected from their child, doubting their abilities as a mother, and an increase in crying and anger (Depression among Women). During the Second Wave Feminist movement, periodicals began to expose this harsh reality that many women face. In her poem, Kelly battles with her emotions through the journey of motherhood in order to unite women in this common experience.

Kelly’s poem was published in the Women’s Spring 1973 Journal.

Kelly’s three-stanza poem mirrors the three stages of motherhood: pregnancy, birth, and childcare. She starts off by describing her experience with pregnancy as “eager to begin / this tedious business / of dying” (Kelly, 39). Kelly compares the process of motherhood as the “business of dying,” a complicated process that will eventually lead to the death of herself. Pregnancy changes a woman emotionally and physically. It can be an isolating experience, which can lead to the development of postpartum depression. Society has glorified the experience of pregnancy by promoting the beauty of women carrying a child but disregards all negative experiences women face with pregnancy and birth.
Therefore, Kelly continues to describe her birth as parasitic. She shares her draining birth experience as “so you sucked your / mouth until the / liquid disappeared / like my womb, / my youth, / my marriage” (Kelly, 39). The child is the parasite and she is the host–leeching out all she has left. Birth is a life-changing experience that comes with new responsibilities and a new outlook on life. In Kelly’s experience, her birth put an end to her womb, youth, and marriage. Her whole life will now be dedicated to raising her child, slowly losing herself in the process. Like Kelly, many women also are faced with this reality. Society portrays childbirth as a joyous experience for mothers, but ultimately neglects the negative aspects and emotional toll of child-rearing.

In the same periodical, Mary Lawrence illustrates a distorted figure, crammed inside a house. Inside the figure is a child. Lawrence illustrates the confinement of mothers in the nuclear family. Mothers are physically trapped in a home that is exceedingly demanding.

Kelly ends her poem by sharing the conflicting emotions of being faced with motherhood. Her alternating state of emotions from “I hate you, / I love you, / I wish you were . . / . . asleep” illustrates the common symptoms of postpartum depression (Kelly, 39). Once again, Kelly references the state of dying, but this time hints that she wishes her child was dead. The use of ellipses shows the hesitation of revealing Kelly’s actual meaning behind her emotions. She battles with her creeping thoughts and is afraid of being labeled a “bad mother” or “unloving” to her child.
Postpartum depression, then and now, is an all too common form of depression that women face after having a child. Women who express symptoms of postpartum depression are often labeled as “bad” and “unloving.” Thus, the women’s movement allowed women to express their negative emotions towards motherhood and redefine society’s view of motherhood as burdensome.

Works Cited:

“Depression among Women.” Centers for Disease Control and Prevention, Centers for     Disease Control and Prevention, 14 May 2020,     https://www.cdc.gov/reproductivehealth/depression/index.htm.

Kelly, Lydia D. “Untitled.” Women: A Journal for Liberation, vol. 4, no.3, pp. 39.

Lawrence, Mary. “Untitled.” Women: A Journal for Liberation, vol. 4, no.3, pp. 3.

Women: A Journal for Liberation, vol. 4, no.3, Spring 1973.

“Closer to the Loss” by Colette Inez is a graphic poem that shares the traumatic sexual violence endured as a young child. Published in the feminist journal Aphra, Inez opens up about her abuse in the hopes of breaking the silence of sexual violence against children in the household. Through explicit, graphic wording, Inez addresses how her childhood was directly affected by the trauma of her foster father’s abuse.

Colette Inez’s poem, “Closer to the Loss” was published in the Winter 1972-1973 Aphra journal. Originally, the poem is not placed side by side. Instead, stanzas directly follow after each other.

Inez became an orphan when she was eight years old and was in multiple foster homes until she was permanently placed in a foster home until she was permanently placed in Long Island, New York. There, she was abused by her foster father (Colette Inez). In the second stanza of the poem, Inez describes her time with “her foster families” in graphic and chilling words, “: / Daddy-boozers / in bargain suits / crouching at the dark / for a squeeze of her breasts” (Inez, 39). By using “Daddy-boozers,” Inez refers to the always drunken state of her foster father. As an eight-year-old girl, there was no way to protect herself against this sexual abuse, especially when her “daddy” was intoxicated. The use of “daddy” in this stanza is chilling as the next line describes how he would go “crouching in the dark / for a squeeze of her breasts.” By unveiling the truth about her abuse, Inez created a new pathway so that other women can feel heard and validated about their nauseating experiences. It reassured women that they were not alone. Their trauma was voiced through feminist periodicals and brought awareness to such cruelties.
Inez uses violent imagery in the lines, “To slam the child’s guff / bloody with sores” to put into perspective how critical her situation was at home (Inez, 39). The word “guff” is a metaphor for Inez’s genitalia. “Slam the child’s guff” explicitly illustrates the physical, sexual torture experienced by a child. “Bloody with sores” illustrates the severe sexual abuse Inez painfully experienced. It reinforces the idea that she will never go back to living a normal childhood because it was tortured out of her.

This is a portrait of Colette Inez (1931-2018). Inez wrote ten poetry books and won many awards for her poems.

Inez also relates innocence to purity as an important ideal in childhood. Being exposed to the evils of the world at a young age strips children of their childhood and changes their whole perspective of the world. Inez was exposed to the cruelty of the world and expresses her change in behavior when she says, “Don’t see her coiled, reptilian smile- / enough terror and rage / to ravage your loins” (Inez, 40). Reptiles are cold-blooded and can symbolize strength. Inez calls on her strength to keep her composure, despite the rage she feels. Her once innocent smile has now turned into a fury which she is fighting to release. The word choice in “ravage your loins” demonstrates the intensity of her rage. By describing her foster father’s penis as “loins,”––as in pork loins–– she sees her foster father as a pig. She is now a little girl filled with rage.

The ending of the poem uses graphic sexual metaphors to illustrate the end of her childhood by saying, “A belt’s tight notch / to move in close / like a zipper’s climb / or a doorknob’s cold, / closer and closer to the loss; / the worlds that drown / in easy sperm / gasping for love” (Inez, 40). The title of the poem is referenced when she says, “closer to the loss” meaning every second that passes by brings her closer to the loss of herself. “The worlds that drown in easy sperm” alludes to her innocence and lost potential of a normal childhood because of this horrific crime. “Grasping for love” is connected to how her foster father would use rape as a symbol of love and the darkest twisted ways love can be represented.

Works Cited:

Aphra, vol. 4, no. 1, Winter 1972-1973.

​​“Colette Inez.” Penny’s Poetry Pages Wiki,   https://pennyspoetry.fandom.com/wiki/Colette_Inez.

Inez, Colette. “Closer to the Loss.” Aphra, vol. 4, no. 1, pp. 39-40.

In Memoriam: Colette Inez (1930 – 2018) | VCCA. https://www.vcca.com/in-memoriam-colette-inez-1930-2018/.