Robin Morgan, poet and feminist whose allies included Jane Fonda and Gloria Steinem, dies at 85

NEW YORK (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.

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 apart 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 (“boozy bikers” and “stoned, hallucinating Joffrey dancers”) 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.”

FILE - Robin Morgan, 5, who presides over a 15-minute network canned-music show every Saturday morning, poses for a photo in New York on Aug. 8, 1947. (AP Photo/Robert Kradin, File)

Robin Morgan, a child television actor, poses for a photo in New York on April 24, 1954. (AP Photo/Bob Wands)

FILE - Robin Morgan, left, and Jane Fonda attend the Women's Media Center's 21st anniversary Women's Media Awards at Tribeca Rooftop, March 5, 2026, in New York. (Photo by Andy Kropa/Invision/AP, File)

FILE - Women's rights activist Robin Morgan attends a Women's Liberation conference in New York on May 28, 1970. (AP Photo/Ed Ford, File)

NEW YORK (AP) — Pretty much everyone on stage at the Metropolitan Opera in New York must audition — even the snake who will briefly take center stage in an upcoming adaptation of a Mozart classic.

In charge of deciding who gets the s-s-s-s-starring reptilian role is Zoe Ziegfeld, a carnival performer-turned-opera actor cast as the snake handler in the Met's version of “Così fan tutte," inspired by Coney Island in the 1950s.

Ziegfeld takes each snake, lets it slither and wrap around, then hoists the animal over their head, rehearsing what they will do under the bright lights at center stage for each performance. Ziegfeld looks each one in the eye, almost face-to-face as they evaluate the snake's demeanor.

“I need to know that the animal is comfortable with people and with what we are doing,” Ziegfeld said.

In the cold-blooded competition, a boa constrictor named Princess won. She is a larger snake with a better visual presence on stage.

“We will be moving forward with Princess (the big sun-glow boa constrictor who is yellow-peach) in rehearsals on a trial basis! She is a wonderful snake, and the trial is not about her, but rather about me and my strength," Ziegfeld wrote in an email after the auditions were over.

A slightly smaller brown boa constrictor named Nala from a second audition will be Princess' understudy.

This is the third time Ziegfeld has played the role of the snake charmer in the Met's adaptation of Wolfgang Amadeus Mozart's 1790 opera.

In Mozart’s original, two Italian soldiers decide to test their lovers’ fidelity by pretending to head off to war. They then disguise themselves and try to seduce each other’s girlfriends. In this version, the plot remains mostly the same, but the setting is a 1950s Coney Island carnival complete with vibrant scenery and sideshow performers.

Ziegfeld came to the role honestly. They spent a couple of seasons on Coney Island doing eight snake-charming shows a day.

When they tried out several years ago, live snakes weren’t allowed in the audition space. So instead, Ziegfeld brought video of their snake-charming act, then hammered home their carnival sideshow bona fides by knocking a nail into their own nasal cavity in what was called the Human Blockhead act.

“The music’s different. The money is different. It’s a pleasure to entertain. And with snakes, it’s a delight to know that there are people watching who are in awe and people who are terrified. And those things happen at the Met and at Coney — so I would say they are more alike than different, to be honest,” Ziegfeld said.

The snakes came to their audition thanks to Nancy Novograd and her company All Tame Animals.

She got into the business when her horse appeared onstage at the Met in a production of “Carmen,” and now she provides the opera house with everything from elephants to insects.

The first two snakes to audition were a bit small. One might have clashed with Ziegfeld's top. But the key is personality, Novograd said.

“Animals have to perform as do human talent. Sometimes they have a set type of behaviors that they have to demonstrate. And sometimes they just have to get along with the talent," Novograd said. “So in this case, they have to be the right color, size, and Zoe has to like them.”

Collins reported from Columbia, South Carolina.

Animal talent expert Nancy Novograd poses for a portrait during auditions to select a snake for a part in an adaptation of Mozart’s “Così fan tutte," at the Metropolitan Opera in New York, Friday, Aug. 28, 2026. (AP Photo/Andres Kudacki)

Performance artist Zoe Ziegfeld, who plays the part of a snake charmer, handles a snake during auditions to select a snake for a part in an adaptation of Mozart’s “Così fan tutte," at the Metropolitan Opera in New York, Friday, Aug. 28, 2026. (AP Photo/Andres Kudacki)

Animal talent expert Nancy Novograd, right, interacts with performance artist Zoe Ziegfeld, who plays the part of a snake charmer, during auditions to select a snake for a part in an adaptation of Mozart’s “Così fan tutte," at the Metropolitan Opera in New York, Friday, Aug. 28, 2026. (AP Photo/Andres Kudacki)

A snake attends auditions to select a snake for a part in an adaptation of Mozart’s “Così fan tutte," at the Metropolitan Opera in New York, Friday, Aug. 28, 2026. (AP Photo/Andres Kudacki)

Performance artist Zoe Ziegfeld who plays the part of a snake charmer poses for a portrait with a snake during auditions to select a snake for a part in an adaptation of Mozart’s “Così fan tutte," at the Metropolitan Opera in New York, Friday, Aug. 28, 2026. (AP Photo/Andres Kudacki)