Sacral Transfers examines conflicts around the family and reproductive labor in the literary and cinematic documents of anticlerical violence against the Catholic Church in twentieth-century Spain. By recasting anticlerical struggles—in both their liberal and revolutionary forms—as struggles over social reproduction, this project contends that the familial and political theological structure of secularism fails to abort coercive regimes of reproduction. Furthermore, it names family sovereignty as the shift in traditional social reproduction from a regime governed by the Catholic Church to a distribution of reproduction tethered primarily to the family. One argument this project advances is that power over the home is about powering the home. By attending to the aesthetics of energy, I show how the Church was portrayed as a dangerous siphon of reproductive labor metaphorized as a form of fuel. Literary depictions of liberal anticlericalism such as Benito Pérez Galdós’s Electra (1901) and Luis Buñuel’s film Viridiana (1961) portray the forced removal of women from convents. Here, the sovereignty priests hold over the family is usurped; the Church is no longer able to decide on exceptions to parental authority. This transfer of sovereignty coincides with the completion of electrical circuits, demonstrating the advantages of family sovereignty and confining women to the home to be the completion of circuits that allow energy (i.e., the commodity labor power) to circulate. Electricity allegorizes the dependence of the commodity labor power on the reproductive labors that make this circulation possible. Furthermore, I argue we should consider reproductive labor as a kind of fuel with multiple potentialities. By being purposed solely for the circulation of labor or energy, reproductive work sourced from the family becomes a rigidified regime of power, directed solely to the ends of producing the commodity labor power rather than life-making itself. Thus, family sovereignty allows secularism to make use of the family as a technology of privatization. The anti-emancipatory effects of anticlerical misogyny underscore the coercive utility of throttling access to reproduction through privatization. Read alongside the historical circumstances of Barcelona’s 1909 Tragic Week protests, Emilia Pardo Bazán’s short story, “La ganadera” (1908), elucidates an important contradiction in anticlericalism: while popular anger at the Church’s oppressive care tactics is justified, anticlerical propaganda ultimately works to confine reproductive labor to the family sphere. The second argument this project advances is that secularism depends on its family genealogy that at once elides its political theological structure while at the same time anchoring its authority in the legitimacy of the past. I argue the 1936 translatio of Gaspar Melchor de Jovellanos’s corpse in Gijón, performs a sacral transfer that roots contemporary legitimacy in a sacred past. In Joan Sales novel Incerta glòria (1973), reactions to violence against the Church and its holy rites result in a refusal to conceptualize familial bonds as contingent. This renders a relationship with the past that is immutable. The imperative to maintain the family stems from the horrors of contingency and reifies a family form that privatizes reproduction while insisting on a sacral enmeshment with the past that obviates the possibility of rupture.