Historical Context
In her essay, “Through the Cracks: Growing Up in the Fifties,” initially published in Partisan Review and subsequently included in Part-Colored Blocks for a Quilt, Marge Piercy discusses the societal pressures on women to conform in mid-20th century America. She asserts that those who did not conform were labeled as “sick.” Piercy writes, “If you wanted something you couldn’t have easily or that other people did not want or wouldn’t admit to wanting, if you were angry, if you were different, strange, psychic, emotional, intellectual, political, double-jointed: you were sick, sick, sick.”
Addressing the physical demands for conformity, she observes that women’s clothing was designed to highlight breasts and hips while simultaneously “squashing” any protruding parts, like the stomach. Piercy’s mother purchased her a girdle at the age of twelve, informing her that she “was now a woman.” Imagery of restraint frequently appears in Piercy’s reflections on her youth, along with her anger at the pain such restraint inflicted. “Women must accustom themselves to a constant state of minor pain, binding themselves in a parody of the real body to be constantly ‘attractive’…. We didn’t have bodies then, we had shapes. We were the poor stuff from which this equipment carved the feminine.”
Piercy’s frustration with how beauty standards undermined women’s self-esteem and subjugated them to male desires is evident in the cynical and bitter tone of “Barbie Doll,” which symbolically narrates the plight of a woman unable to meet societal expectations. Reflecting on late 1950s America, Piercy states, “Even the notion of acceptable beauty was exceedingly limited and marred a whole generation of women who grew up knowing it (training in self-hatred) and a whole generation of men who felt they were entitled to it, and any actual woman not resembling the few idols was very second best: or Everyman has the right to the exclusive possession of Marilyn Monroe.”
In 1959, when Piercy was twenty-three, Mattel introduced the first Barbie doll. Named after Barbara, the daughter of Mattel Toys' founders Ruth and Elliot Handler, Barbie was the first doll in America to feature an adult body. She had idealized proportions but lacked genitals and nipples, making her both feminine and non-offensive. The Handlers claimed they were inspired by observing their daughter mimic adult conversations and behaviors. They aimed to provide their daughter, and potential consumers, with a doll that represented the teenager she and other children would grow into. Special care was taken with Barbie’s outfits, designed to appeal to a young girl’s vision of teenage independence and fun while also aligning with a parent’s idea of wholesomeness. The original Barbie came with a tennis dress, a bathing suit, a ballerina outfit, a wedding dress, and a football game outfit, covering all the traditional roles of a suburban, middle-class American life. Through playing with Barbie, young girls were taught societal expectations. They were given the illusion of freedom, of creating their identities through various Barbie costumes. As the country evolved in the 1960s, so did Barbie. Her facial features softened, her skin tone was adjusted, and she received a new bubblecut hairstyle to mirror the changing times. In the 1970s, Barbie transformed once more. Her bright blue eyes began to look directly ahead, symbolizing an assertive, confident woman who made her own decisions. The sexual revolution and women’s liberation movements contributed to a new image of what girls could aspire to be. Barbie has continued to “evolve” with society. Mattel has released numerous different Barbies to reflect these changes. Their collection has included Betsy Ross Barbie (celebrating the bicentennial), Twist and Turn Barbie, Color Magic Barbie, Action...
(This entire section contains 637 words.)
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Adventure Barbie, Francie (an African-American Barbie), and many other versions designed to represent the shifting values of American society and the expanding opportunities available to women.
Style and Technique
Marge Piercy's poem "Barbie Doll" is a narrative work written in free verse, a form that eschews regular rhythm and meter. It serves as a poignant commentary on the pressures faced by women in patriarchal societies. The piece acts as a modern parable, delivering a moral that cautions against the societal constructs of gendered identities, and warns women about the dangers of striving towards idealized standards of feminine beauty and behavior.
The Timelessness of Language
Piercy's choice of diction in "Barbie Doll" incorporates occasional archaisms, employing words and grammatical structures such as "girlchild" and "that did pee-pee," which are uncommon in contemporary language. This blend of old-fashioned language with modern storytelling creates an aura of timelessness. It suggests that the struggle against societal constraints on women’s identities is not a contemporary issue, but rather one deeply rooted in history. Through this linguistic strategy, Piercy underscores the enduring nature of these societal pressures.
The Power of Irony
Irony plays a crucial role in Piercy's narrative technique. Derived from the Greek word "eiron," irony involves conveying a meaning opposite to what is explicitly stated, often through understatement or subtle suggestion. In "Barbie Doll," irony is starkly evident in the poem's conclusion, where the "girlchild's" demise is paradoxically described as the only consummation achieved. The speaker’s wish for every woman to have a "happy ending" is a bitter commentary on the grim realities faced by those women who have internalized patriarchal values, prioritizing men's desires over their own well-being.
Parable as a Moral Statement
By framing "Barbie Doll" as a parable, Piercy embeds a moral narrative within the poem. Parables are often employed in religious texts to impart ethical lessons. In this context, the poem acts as a didactic tool, urging readers to reflect on how society influences gender identity. It prompts a critical examination of the ways women are coerced into adhering to unrealistic standards, urging a rejection of these socially constructed ideals in favor of authentic self-acceptance.
Overall, "Barbie Doll" employs a combination of timeless language, ironic elements, and moral storytelling to critique the oppressive standards imposed on women. Piercy's strategic use of language and narrative structure invites readers to question and challenge the societal norms that dictate gender roles, urging a reevaluation of what constitutes true beauty and identity.
Compare and Contrast
1959: Mattel Toys launches the very first Barbie Doll.
1966: Francie, Barbie's "mod" cousin, debuts in a polka-dotted top and gingham bikini bottom.
1967: The African-American version of Francie "Barbie" is introduced.
1976: Barbie earns a spot in "America's Time Capsule" during the nation's bicentennial celebration.
1971: Barbie's eyes, which used to glance sideways, now gaze directly forward, shedding any submissive connotations.
1975: For the Winter Olympics, Barbie is promoted internationally as the athlete of the year, appearing as a swimmer, skier, and skater, complete with a gold medal around her neck.
1982: "Punk" Barbie is introduced.
1985: "Day to Night" Barbie, Mattel's interpretation of the yuppie lifestyle, is released. She comes equipped with everything from modern office gadgets (a tiny calculator) to an evening gown for a night out.
1986: "Astronaut" Barbie is released. In 1988, "Dr. Barbie" is introduced.
1990: Mattel sponsors the "Barbie Summit" in New York City, where thirty-nine children from around the globe gather to discuss world hunger, environmental issues, and peace.
1995: "Karaoke" Barbie is released.
1993: Barbie sales hit $1 billion, with Barbie and related products making up 34 percent of Mattel's total sales.
1997: Mattel announces plans to give Barbie a more realistic figure and reduce her makeup. The new design will feature a wider waist, slimmer hips, and a smaller bustline, and will be introduced gradually.
Media Adaptations
Marge Piercy has her own website: http://www.capecod.net/~tmpiercy/index.html
A collection of essays discussing the cultural impact of the Barbie doll is available at this website: http://www.dolliedish.com/barbie/onbarbie.html
For a different perspective on Barbie's marketing, visit Mattel's official Barbie website: http://www.barbie.com/
In 1976, Watershed Tapes released a cassette featuring Piercy reading her poetry, titled At the Core.
Bibliography and Further Reading
Sources
Abercrombie, Nicholas, Stephen Hill and Bryan S. Turner, eds., Dictionary of Sociology, London: Penguin, 1984.
Doherty, Patricia, Marge Piercy: An Annotated Bibliography, Westport, CT: Greenwood Press, 1997.
Duhamel, Denise, Kinky, Alexandria, VA: Orchises Press, 1997.
Edut, Ophira, ed., Adios, Barbie, Seattle: Seal Press, 1998.
Peabody, Richard and Lucinda Ebersole, eds., Mondo Barbie, New York: St. Martins Press, 1993.
Perrin, Robert, "Barbie Doll and G.I. Joe: Exploring Issues of Gender," English Journal, Vol. 88, January 1999, pp. 83-86.
Piercy, Marge, The Twelve-Spoked Wheel Flashing, New York: Knopf, 1978.
Shands, Kerstin W., The Repair of the World: The Novels of Marge Piercy, Westport, CT: Greenwood Publishing Group, 1994.
Showalter, Elaine, "The Feminist Critical Revolution," in Feminist Criticism: Essays on Women, Literature, and Theory, New York: Pantheon Books, 1985.
Strohmeyer, Sarah, Barbie Unbound: A Parody of the Barbie Obsession, Norwich, VT: New Victoria Publishers, 1997.
Walker, Sue, ed., Critical Essays on Marge Piercy, Westport, CT: Greenwood Publishers, 2000.
For Further Study
Lord, M.G., Forever Barbie, William Morrow and Co.: New York, 1994. Lord's work is the most comprehensive examination of Barbie's historical impact on American culture and consumer society to date. She provides an in-depth look at Barbie's origins and traces her evolution through the latter half of the 20th century.
McDonough, Yona Zeldis, ed., The Barbie Chronicles, New York: Touchstone Books, 1999. This anthology comprises essays and poems reflecting on the plastic icon on her 40th anniversary. The standout essays in this collection explore Barbie through the lenses of sexuality, gender, and race.
Piercy, Marge, Parti-Colored Blocks for a Quilt, Ann Arbor: University of Michigan Press, 1982. This compilation of interviews, essays, and reviews offers a firsthand account of Piercy's involvement with the women's movement and her perspectives on her own and others' poetry.
Varaste, Christopher, Face of the American Dream: Barbie Doll 1959-1971, Grantsville, MD: Hobby House Press, 1999. This book provides a fresh perspective on early Barbie dolls as "time capsules of the past" that reflect popular culture. The fashion trends, makeup, and hairstyles of the 60s are illustrated through photographs of vintage Barbie dolls. Actual advertisements for beauty products document the era's fashion trends. The author highlights the revolutionary influences on these fashions and selects dolls that perfectly represent various styles, giving us an authentic glimpse into the evolving American Dream.
