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Gloria Steinem: A Mortal Heroine

The article examines Gloria Steinem’s complex feminist legacy, acknowledging both her contributions to the movement and criticisms of her approach to intersectionality. It argues against idealizing or demonizing public figures, urging readers to recognize their complexities and the collective nature of social movements.

Published:October 19, 2026 at 07:09 PM4 min read
Gloria Steinem: A Mortal Heroine
By Pearl Sarin

In a peri-Internet, post-nuance society, one of two fates awaits all public figures who’ve left this world. Either be stamped flat into an infallible martyr, or have one sweeping judgement rake your entire life’s work into an ever-growing pile of problematic.
Neither’s quite an accurate reflection of reality.



A New Wave of Feminism

Born in the 1930s in Midwestern America, Steinem was a writer, journalist, activist, socio-political organizer, and, most famously, a feminist. “A feminist is anyone who recognizes the equality and full humanity of women and men”, she famously proclaimed, becoming part of the vanguard of the second feminist wave in the United States, with many considering her the face of the movement- a label she rejected, stating in her final interview before her death, “I hope I wasn’t…because it’s not right. It’s a diverse movement”.

Yet, for all her accomplishments and contributions, Steinem has also been at the receiving end of many valid, good-faith critiques.

White Feminism and Intersectionality

Perhaps the most frequently-cited issue with her work is that of ‘White Feminism’- a non-intersectional approach to feminism that centres cisgendered, heterosexual, middle-class, Western white women, while neglecting other groups. Indeed, in the late 80s, Alice Walker, an African-American writer and activist, resigned as one of the contributors to ‘Ms.’ magazine- the groundbreaking feminist publication Steinem cofounded- citing a lack of diverse perspectives. Similarly, the famous Black feminist philosopher bell hooks described Ms. magazine as being intended for white women, and believed Steinem had a “narrowminded, and racist” view of comprehending Black women’s lived realities.

Interestingly, however, Steinem would go on to resolve her differences with both women, with the latter even remarking that Steinem “lived the practice of anti-racism”.

Nor was Steinem shy about Black and brown women’s influence on feminist thought. The very first issue of Ms. (1972) featured an illustration of a pregnant, crying Kali, with each of her eight arms holding a different object- a frying pan, a typewriter, a hand mirror, a clock and so on- meant to represent the disproportionate burden of housework placed on working women compared to working men. The imagery may have been inspired by the two years Steinem spent in India in the 50s.

She also repeatedly acknowledged- and criticised- the prioritization of white voices within the Western feminist movement, stating in 2015, “I've learned feminism disproportionately from Black women”, but that with “things being what they are, the white, middle-class part of the movement got reported more”. In 2017, she commented, “There is no such thing as white feminism. Because if it’s white, it’s not feminism. It’s either talking about all women, or it’s not”.
A Mortal Heroine

Is Gloria Steinem a feminist trailblazer, or is her work a relic of its era? Is she the woman who proudly worked for an organization with credible allegations of targeting and torturing immigrants like the CIA? Or is she the woman who was the sole respondent to offer her home, when a 2018 mass email asked for volunteer housing for immigrant women and their children? Is she the woman who referred to trans healthcare as “mutilation” in a 1977 essay? Or is she the woman who called the fights for the rights of trans folk and women “the same struggle” in 2016, who repeatedly expressed solidarity with the community in light of recent attacks on them?
Is she a part of the status quo, a product of it, or the one fighting against it?
Perhaps the simpler question to answer is the one we started with- what happens when an icon falls off the pedestal we placed her atop? How does one disentangle who a public figure is, from the feelings they inspire in us, and the ones we project on them?

Ideally, we start by no longer placing them on a pedestal in the first place. Gloria Steinem was an intricate, human woman- a mortal heroine- whose legacy deserves better than for people to succumb to the tendency to boil down complicated women to their worst or best moments.

More importantly, as much as she became a larger-than-life symbol over time, she was but one of the countless women, men and people working tirelessly around the globe to advance the feminist movement. As such, it’s perhaps best to sidestep both individual deification and demonization alike, but rather to remember her for the movement she dedicated her life to; an idea she’d perhaps agree with, having once famously said: “People are always asking me, ‘Who will you pass the torch to?’ The question makes me angry. There is no one torch- there are many torches- and I’m using my torch to light other torches”.

NOTE: The name ‘bell hooks’ has been intentionally left unpunctuated in accordance with the writer’s wishes, and as per popular styling and formatting guidelines, such as MLA and CMOS.
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#steinem#gloria steinem#white feminism#alice walker#feminism

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