In Feminine Gospels, there is no clear definition of femininity. Using ideas from the
critical anthology, to what extent do you agree with this view?
A lexical definition of femininity would be ‘the fact or quality of having characteristics that
are traditionally thought to be typical of or suitable for a woman’ (Cambridge Dictionary),
understood to be socially constructed. In a Western context, feminine characteristics include,
among others, being nurturing, beautiful, submissive and dependent. Traditionally, femininity
contrasts masculinity and is conceptually distinct from but interacts with the female biological
sex. From a third-wave feminist perspective, femininity is an intersectional and fluid concept
that cannot be confined to a single definition. In Feminine Gospels, agreement with the third-
wave perspective can be found: characters toe outside traditional femininity, use feminine traits
in untraditional ways, or show both masculine and feminine characteristics. Overall, Duffy
rejects a clear definition to present the feminine experience as multi-faceted and complex.
Undoubtedly, femininity is sometimes defined as being motherly and nurturing in Feminine
Gospels. However, Duffy challenges the traditional, solely domestic motherly figure. In Sub,
the speaker’s career- allusions to various historical achievements by men- is paired with her
journey of motherhood, hinting neither should act as the backdrop of the other. The gentle ‘first
kick of my child’ is juxtaposed with ‘whacked a century into the crowd’, which connotes an
aggressive masculine action. Her success subverts the traditional views of dependence and
weakness during pregnancy. Parental duties still fall on the speaker (‘Motherhood then kept
me busy till my girl started school.’) but her career is only paused and she ‘pulls right back’.
Duffy suggests motherhood does not hinder success, and the colloquial phrases give a
nonchalant tone, reflecting the normalcy of women being sidelined. This aligns with the
feminist view that ‘gender has not to do with how females (and males) really are’ (H. Bertens)
as traditional feminine roles are limited to the private sphere. Furthermore, the extended
metaphor of substitution and deliberate ambiguity (e.g. repetition of ‘I was’ could be
interpreted as a declaration of self or lament for missed opportunities) convey a desire for the
inclusion of women in male-dominated spaces, whilst also treasuring motherhood.
Similarly, in Work femininity is not given a clear definition, as the female voice of mother
nature expands the maternal role beyond traditional confines. Initially, she is a traditional
housewife, satisfied with her domestic role- ‘life was a dream’. The poem then takes a turn in
mood as she transitions to an overwhelmed provider. The aposiopesis in ‘Feeding ten was a
different kettle’ reflects her increasing burden of work, as well as the repeated motif of feeding-
from ‘To feed one’, to ‘feed fifty’, to ‘feed more, more’, to ‘She fed the world’. The asyndeton
and enjambement used throughout provide a rushed, hurried pace. Verbs such as ‘flogged’,
‘ripped’, ‘toiled’, ‘lifted’, and ‘sweated’ connote physically demanding work, typically
associated with male labour, and subverts the housewife gender role. Duffy implies
motherhood requires immense sacrifice by combining the roles of the housewife and
breadwinner (a man’s role in the nuclear family). Furthermore, the motif of feeding gradually
widens the focus from one to all women. Domestic chores symbolise traditional gender roles,
and industrial and wartime work symbolises women’s expanded roles during societal crises.
Duffy uses irony to critique how traditional gender roles are glorified, but women’s
contributions to the progression of humankind go unrecognised- mother nature is ‘sickened,
died, lay in a grave, worked, to the bone, her fingers/ twenty-four seven.’. However, the tone
is sometimes celebratory, praising women’s resilience and strength. ‘Duffy’s poetry has always
been strong and feminist’ (British Council), and she ‘exposes the mechanisms of patriarchy,
that is, the cultural “mind-set” … which perpetrates sexual inequality’ (Barry, P.). Therefore,
critical anthology, to what extent do you agree with this view?
A lexical definition of femininity would be ‘the fact or quality of having characteristics that
are traditionally thought to be typical of or suitable for a woman’ (Cambridge Dictionary),
understood to be socially constructed. In a Western context, feminine characteristics include,
among others, being nurturing, beautiful, submissive and dependent. Traditionally, femininity
contrasts masculinity and is conceptually distinct from but interacts with the female biological
sex. From a third-wave feminist perspective, femininity is an intersectional and fluid concept
that cannot be confined to a single definition. In Feminine Gospels, agreement with the third-
wave perspective can be found: characters toe outside traditional femininity, use feminine traits
in untraditional ways, or show both masculine and feminine characteristics. Overall, Duffy
rejects a clear definition to present the feminine experience as multi-faceted and complex.
Undoubtedly, femininity is sometimes defined as being motherly and nurturing in Feminine
Gospels. However, Duffy challenges the traditional, solely domestic motherly figure. In Sub,
the speaker’s career- allusions to various historical achievements by men- is paired with her
journey of motherhood, hinting neither should act as the backdrop of the other. The gentle ‘first
kick of my child’ is juxtaposed with ‘whacked a century into the crowd’, which connotes an
aggressive masculine action. Her success subverts the traditional views of dependence and
weakness during pregnancy. Parental duties still fall on the speaker (‘Motherhood then kept
me busy till my girl started school.’) but her career is only paused and she ‘pulls right back’.
Duffy suggests motherhood does not hinder success, and the colloquial phrases give a
nonchalant tone, reflecting the normalcy of women being sidelined. This aligns with the
feminist view that ‘gender has not to do with how females (and males) really are’ (H. Bertens)
as traditional feminine roles are limited to the private sphere. Furthermore, the extended
metaphor of substitution and deliberate ambiguity (e.g. repetition of ‘I was’ could be
interpreted as a declaration of self or lament for missed opportunities) convey a desire for the
inclusion of women in male-dominated spaces, whilst also treasuring motherhood.
Similarly, in Work femininity is not given a clear definition, as the female voice of mother
nature expands the maternal role beyond traditional confines. Initially, she is a traditional
housewife, satisfied with her domestic role- ‘life was a dream’. The poem then takes a turn in
mood as she transitions to an overwhelmed provider. The aposiopesis in ‘Feeding ten was a
different kettle’ reflects her increasing burden of work, as well as the repeated motif of feeding-
from ‘To feed one’, to ‘feed fifty’, to ‘feed more, more’, to ‘She fed the world’. The asyndeton
and enjambement used throughout provide a rushed, hurried pace. Verbs such as ‘flogged’,
‘ripped’, ‘toiled’, ‘lifted’, and ‘sweated’ connote physically demanding work, typically
associated with male labour, and subverts the housewife gender role. Duffy implies
motherhood requires immense sacrifice by combining the roles of the housewife and
breadwinner (a man’s role in the nuclear family). Furthermore, the motif of feeding gradually
widens the focus from one to all women. Domestic chores symbolise traditional gender roles,
and industrial and wartime work symbolises women’s expanded roles during societal crises.
Duffy uses irony to critique how traditional gender roles are glorified, but women’s
contributions to the progression of humankind go unrecognised- mother nature is ‘sickened,
died, lay in a grave, worked, to the bone, her fingers/ twenty-four seven.’. However, the tone
is sometimes celebratory, praising women’s resilience and strength. ‘Duffy’s poetry has always
been strong and feminist’ (British Council), and she ‘exposes the mechanisms of patriarchy,
that is, the cultural “mind-set” … which perpetrates sexual inequality’ (Barry, P.). Therefore,
