"No matter how wise a mother s advice is, we listen to our
peers." At least that s writer Naomi Wolf s take on the differences
between her generation of feminists the third wave and the
feminists who came before her and developed in the late 60s and 70s
the second wave. In Not My Mother s Sister, Astrid Henry agrees
with Wolf that this has been the case with American feminism, but
says there are problems inherent in drawing generational lines.
Henry begins by examining texts written by women in the second
wave, and illustrates how that generation identified with, yet also
disassociated itself from, its feminist "foremothers." Younger
feminists now claim the movement as their own by distancing
themselves from the past. By focusing on feminism s debates about
sexuality, they are able to reject the so-called victim feminism of
Catherine MacKinnon and Andrea Dworkin. Rejecting the orthodoxies
of the second wave, younger feminists celebrate a woman s right to
pleasure. Henry asserts, however, that by ignoring diverse older
voices, the new generation has oversimplified generational conflict
and has underestimated the contributions of earlier feminists to
women s rights. They have focused on issues relating to personal
identity at the expense of collective political action.
Just as writers like Wolf, Katie Roiphe, and Rene Denfeld
celebrate a "new" feminist (hetero)sexuality posited in
generational terms, queer and lesbian feminists of the third wave
similarly distance themselves from those who came before. Henry
shows how 1970s lesbian feminism is represented in ways that are
remarkably similar to the puritanical portrait of feminism offered
by straight third-wavers. She concludes by examining the central
role played by feminists of color in the development of third-wave
feminism. Indeed, the term "third wave" itself was coined by
Rebecca Walker, daughter of Alice Walker.
Not My Mother s Sister is an important contribution to the
exchange of ideas among feminists of all ages and persuasions."
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