2026年9月5日 美国东部时间19:36 / 美联社
曾在20世纪40年代和50年代是炙手可热的童星，长大后成为诗人、散文家、编辑以及第二波女权主义浪潮中的全美激进主义者的罗宾·摩根现已去世，享年85岁。
摩根的儿子布雷克·摩根表示，摩根此前几周一直受一系列健康问题困扰，于周六在纽约去世，离世前不久她仍在创作新书和诗歌。她的去世距离其密友、同为活动家的格洛丽亚·斯泰纳姆的去世仅数日。
在20世纪60年代和70年代，摩根 embodied 并激励了女性生活与思维方式的历史性变革。正如她乐于指出的那样，这位曾被称为“完美美国女孩”、深受喜爱的“小罗宾·摩根”实则是一名打破规则、追求正义的人，她拥有一系列显著成就，同时也留有犯罪记录和联邦调查局档案。
2026年3月5日，罗宾·摩根在纽约市翠贝卡屋顶举办的WMC 2026女性媒体奖颁奖典礼上登台发言。克雷格·巴里特 摄
摩根身处后来被称为第二波女权主义的一些决定性时刻的中心，拓展了半个世纪前妇女参政论者的成就。1968年，她是首次抗议美国小姐选美大赛的组织者之一，与其他活动家一同将胸罩（后被误传为被焚烧）扔进了“自由垃圾桶”。她在1970年编辑的随笔文集《女性力量》（Sisterhood is Powerful）被视为现代妇女运动的核心文本之一。
但她的儿子称，摩根自认为主要是一名诗人和艺术家，她的创作为行动主义提供了养分。
“她能够像诗人一样，将宏大的理念简洁凝练为寥寥数语，”布雷克·摩根说道，并举例了她的名言“仇恨泛化，爱具化”（”hate generalizes, love specifies”）。
她的遗产由行动、文字与形象共同构成。摩根被广泛认为是“她史”（herstory）一词的创造者，这是女权主义者对“历史”（history）的重新诠释，同时她也推广了解放运动中紧握拳头+女性符号的标志性图案。她的诗歌《怪物》（Monster）中有“我渴望一场女性革命，如恋人一般/我对此垂涎三尺”这样的诗句，曾被女权主义集会及其他场合引用。
她的诗歌《控诉》（Arraignment）精准传达了运动对西尔维娅·普拉斯的悼念，以及对其丈夫诗人特德·休斯的谴责——摩根等人认为休斯应对1963年普拉斯的自杀负责。摩根的押韵对句“我控诉/特德·休斯”（”I accuse/Ted Hughes”）启发了音速青年乐队歌曲《我控诉特德·休斯》（J’Accuse Ted Hughes）的标题。
一份政府报告将摩根称为“无政府主义家庭主妇”，她与左右两派的当权派都曾发生对抗。1970年，她与其他抗议者占领先锋出版社格罗夫出版社的办公室后被捕入狱，该出版社老板巴尼·罗塞特当时正反对员工组建工会。在被广泛转载的1970年随笔《告别一切》（Goodbye to All That）中，她批评了从休·赫夫纳到艾比·霍夫曼等自由主义者和活动家，将后者比作“任何抛弃发妻与孩子的崭露头角的电影明星”。
在个人生活中，摩根曾与男性和女性恋人交往，与同性恋诗人肯尼思·皮奇福德结婚超过20年，两人的儿子如今是一名音乐家、制作人兼唱片公司创始人。
她曾将自己的婚姻描述为“两人组成的公社”，并且极其抗拒被贴标签，她记得曾被认为她应该成为女同性恋者的女权主义者“扣直人帽子”，也被认定她是女同性恋者的保守派指责。
在2001年的回忆录《周六的孩子》（Saturday’s Child）中，她表达了对人生际遇的喜悦与惊叹，以及自己如何保留着“一丝微弱且略带超现实感的幽默感”。
“把这个塞进你的苹果派里慢慢品味吧，”她写道。
除《周六的孩子》外，摩根还完成了20余部作品，包括《女性的话语：女权主义通讯》（The Word of a Woman: Feminist Dispatches），以及诗集《怪物》与《暗物质》（Dark Matter）。她在《女性力量》之后又推出了《全球女性力量》（1984年，Sisterhood is Global）和《永恒女性力量》（2002年，Sisterhood is Forever），收录了斯泰纳姆、西蒙娜·德·波伏娃和伊芙·恩斯勒等作者的作品。她曾担任《女士》杂志（Ms. Magazine）总编辑数年。
斯泰纳姆曾称她是理想的“多面手”，几乎具备抗议运动所需的各项才能。作为组织者，她协助创立了20世纪60年代的多个女权组织，包括纽约激进妇女团体和“地狱来的妇女国际恐怖主义阴谋集团”（W.I.T.C.H.）。她曾加入由霍夫曼和杰里·鲁宾等人领导的左翼“青年国际党”（又称“亚文化青年党”），但很快因该组织对待女性的方式而感到厌恶并脱离。
1984年，她参与创立了早期女权主义智库“全球女性力量研究所”。2005年，她与斯泰纳姆和简·方达共同创立了女性媒体中心，该机构的使命是支持“女性和女童在媒体领域的能见度、生存能力与决策权”。
近年来，尽管16年前被诊断出患有帕金森病，摩根仍主持一档联合广播节目并保持活跃，这一经历也为她的诗歌创作和2015年TEDWomen演讲提供了灵感。
若身处另一个时代，她或许只是另一名被遗忘的童星。摩根1941年出生于佛罗里达州莱克沃思，在纽约长大，成长过程中从未见过父亲，母亲还谎称父亲已经去世。她的母亲还将她的年龄虚报了一岁，称她出生于1942年，以使她早期的公众职业生涯看起来更加亮眼。
这位金发且富有天赋的罗宾3岁就开始做模特，5岁主持了自己的“小罗宾·摩根”广播节目，几乎同时还登上了广播（后来转为电视）益智节目《少年陪审团》。1949年至1957年间，她出演了热门家庭情景喜剧《妈妈》（Mama），并在《罗伯特·蒙哥马利秀》《卡夫剧院》等节目中亮相。
她曾结识当时的多位顶级明星，从艾伯特和科斯特洛到萨尔·米涅奥，其人气高涨到催生了罗宾·摩根玩偶等周边商品。杂志将她描述为“未被污染”“彬彬有礼”和“完美邻家女孩”，称她不会“对既有社会爆发激烈的对抗情绪”。
但在镜头外，有时甚至在镜头前，她与公众形象相去甚远，她的第一首“严肃”儿童诗开篇便是：“去吧，愤怒，用绝望冰封世界。”在一次《少年陪审团》的录制中，节目议题是男孩是否应该被打屁股。摩根本应开玩笑说他应该在裤子里垫上软垫，但她却当众宣称所有体罚都是错误的。
正如她在《周六的孩子》中回忆的那样，制片人丹·埃伦赖希用力攥住她的肩膀，摩根甚至能感觉到他的指甲。他将麦克风移开，最终用手捂住了她的嘴。
“我意识到，我热爱并尊重那个奋起反抗的孩子，那是我记忆中第一次敢于做出的政治行为，”摩根写道。
在十几岁后期，她开始在哥伦比亚大学上课，参加诗歌研讨会并积极参与政治活动。她参加民权和反越战游行，结识了抗议者、艺术家以及W.H.奥登和安东尼·赫克特等诗人，他们向她传递了男性视角下的创作理念：“但是，亲爱的，女人应该成为诗歌，而非创作诗歌。”
1962年，她在曼哈顿的一场派对上遇见了皮奇福德。当其他客人离开，主人催促她一同离开时，皮奇福德点燃蜡烛，播放德沃夏克的《新世界交响曲》，成为她的“第一人”。他们后来散步数小时，最终在市中心的一张公园长椅上驻足。
“你身上有一种充满可能性的气质，罗宾，”他对她说，“这让我相信一切皆有可能。”
Robin Morgan, feminist writer and close friend of Gloria Steinem, dies at 85
September 5, 2026 7:36 PM EDT / AP
Robin Morgan, a wholesome child star of the 1940s and ’50s who grew up to become an all-American radical as a poet, essayist, editor and second-wave feminist, has died. She was 85.
Morgan, who was still working on new books and poems, died Saturday in New York after suffering a series of health problems in recent weeks, said her son, Blake Morgan. Her death came just days after that of her close friend and fellow activist Gloria Steinem.
During the 1960s and ’70s, Morgan embodied and inspired historic changes in how women lived and thought. As she was happy to point out, the onetime “Ideal American Girl” and adored “Little Robin Morgan” was a rule breaker and justice seeker with a notable list of achievements, along with a prison record and an FBI file.
Robin Morgan speaks onstage at The WMC 2026 Women’s Media Awards at Tribeca Rooftop on March 5, 2026, in New York City. Craig Barritt
Morgan was at the center of some of the defining moments of what came to be called second-wave feminism, expanding upon the achievements of the suffragists a half-century earlier. In 1968, she was among the organizers of the first protest against the Miss America pageant, joining fellow activists in tossing their bras (soon mythologized as burning) into a “Freedom Trash Can.” The 1970 essay anthology she edited, “Sisterhood is Powerful,” is considered one of the essential texts of the modern women’s movement.
Yet she considered herself primarily a poet and artist, and that work fed into her activism, her son said.
“She was someone who was able to take very big ideas and distill them succinctly, like a poet, into a few words,” said Blake Morgan, pointing to such quotes of hers as “hate generalizes, love specifies.”
Her legacy was one of deeds, words and images. Morgan is widely credited with coining the term “herstory,” the feminist reworking of “history,” and popularizing the clenched fist/female symbol icon of the liberation movement. Her poem “Monster,” with such lines as “I want a women’s revolution like a lover/I lust for it,” was quoted at feminist rallies and beyond.
Her poem “Arraignment” helped capture the movement’s embrace of the late Sylvia Plath and condemnation of her husband, poet Ted Hughes, whom Morgan and others blamed for Plath’s suicide in 1963. Morgan’s rhyming couplet “I accuse/Ted Hughes” inspired the title for Sonic Youth’s “J’Accuse Ted Hughes.”
Labeled an “anarchist housewife” in one government report, Morgan confronted the establishment, left and right. In 1970, she and fellow protesters were arrested and jailed after occupying the offices of the avant-garde Grove Press, whose owner, Barney Rosset, was fighting employees’ efforts to unionize. In the widely reprinted 1970 essay “Goodbye to All That,” she called out libertines and activists from Hugh Hefner to Abbie Hoffman, the latter of whom she likened to “any other up-and-coming movie star who ditches the first wife and kids.”
In her personal life, Morgan had male and female lovers and was married for more than 20 years to the gay poet Kenneth Pitchford, with whom she had her son, a musician, producer and record company founder.
She once described her marriage as a “two member commune” and was so resistant to labels that she remembered being “straight-baited” by feminists who thought she should be a lesbian and chastised by conservatives who assumed she was a lesbian.
In her 2001 memoir “Saturday’s Child,” she expressed joy and amazement at how her life turned out and how she was able to retain “a threadbare, somewhat surreal sense of humor.”
“Put that in your apple pie and smoke it,” she wrote.
Besides “Saturday’s Child,” she completed more than 20 books, including “The Word of a Woman: Feminist Dispatches,” and the poetry collections “Monster” and “Dark Matter.” She followed “Sisterhood is Powerful” with “Sisterhood is Global” (in 1984), and “Sisterhood is Forever” (2002), featuring such contributors as Steinem, Simone de Beauvoir and Eve Ensler. For several years, she was editor-in-chief of Ms. Magazine.
Steinem would call her an ideal “utility player,” gifted in almost every way a protest movement might require. As an organizer, she helped found such 1960s feminist groups as New York Radical Women and Women’s International Terrorist Conspiracy from Hell (W.I.T.C.H.). She was part of the Youth International Party, the left-wing “Yippies” led by Hoffman and Jerry Rubin among others, but soon became disgusted with how the group treated women and left.
In 1984, she was a founder of an early feminist think tank, the Sisterhood Is Global Institute. In 2005, she, Steinem and Jane Fonda launched the Women’s Media Center, which has a mission to support “the visibility, viability and decision-making power of women and girls in media.”
More recently, she hosted a syndicated radio show and remained active despite being diagnosed 16 years ago with Parkinson’s disease, which inspired several poems and a TEDWomen talk in 2015.
In a different era, she might have been just another forgotten child star. Born in 1941 in Lake Worth, Florida, and raised in New York, she never saw her father while growing up and was told — falsely — by her mother that he was dead. Her mother also shaved a year off her age, claiming she was born in 1942, to make her early public career seem even more impressive.
The blonde, talented Robin was modeling by age 3, hosted her own “Little Robin Morgan” radio show at age 5 and around the same time was featured on the radio (later television) game show “Juvenile Jury.” From 1949-57, she appeared in the hit TV domestic comedy series “Mama” and made appearances on “Robert Montgomery Presents,” “Kraft Theater” and other shows.
She would meet some of the era’s biggest stars, from Abbott and Costello to Sal Mineo, and was popular enough to inspire such commercial tie-ins as Robin Morgan dolls. Magazines described her as “unspoiled” and “courteous” and “the ideal girl-next-door,” immune from “violent outbursts of antagonism against established society.”
But off camera, and sometimes on, she was so far from her image that her first “serious” childhood poem began: “Go, rage, winter the world with despair.” During one broadcast of “Juvenile Jury,” the question was whether a boy deserved to be spanked. Morgan was supposed to joke that he should wear padding under his pants, but she instead declared that all physical punishment was wrong.
As she recalled in “Saturday’s Child,” producer Dan Ehrenreich squeezed her shoulder so hard that Morgan could feel his fingernails. He turned her microphone away and eventually placed his hand over her mouth.
“I realized that I loved and respected that child who fought back in what was the first political act I recall ever daring to make,” Morgan wrote.
Once in her late teens, she began taking classes at Columbia University, attended poetry workshops and became politically active. She marched for civil rights and ending the Vietnam War and met protesters, artists and such poets as W.H. Auden and Anthony Hecht, who gave her a man’s eye view of the creative process, “But, my dear, women should be poems, not write them.”
In 1962, she met Pitchford at a Manhattan party. Once the other guests had left and the host urged her to go with them, Pitchford lit candles, put Dvorak’s “New World” symphony on the record player and became her “First.” They later walked for hours and ended up on a downtown park bench.
“You have such an air of possibility about you, Robin” he told her. “It makes me believe anything can happen.”