|
According To Historian Joan Jacobs Brumberg, American Girls Are In Crisis.
By Tonya Janes
The Body Project: An Intimate History of American Girls,
by Joan Jacobs Brumberg (Random House). Cloth, $25.
IT'S POSSIBLE YOU'VE seen them preening before mirrors
with their diminutive friends, exposing metal in their bellies
and trinkets galore on their faces. If you're like me, you wonder:
What's happened to make these young women so accessory-savvy,
so absolutely focused on displaying their changing bodies to the
world? Visit any mall and try to get past the doors of those barrette
and earring places on a Saturday afternoon. Or check out your
hip local coffee shop and hear them jingle as they sip their lattes
and mochas. A few girls sport low-slung, oversized jeans, exposed
tummies with belly-button rings, and form-fitting, babydoll t-shirts.
Is it the caffeine that keeps them so slim?
In my day, the goofy late seventies, we experimented with earrings.
The convention was two, maybe three--and various ways of curling
the hair around the face. The braver souls tried on satin gym
shorts, Danskin leotards with skirts, and Candies mules for that--gasp!--disco
effect. If there were girls who starved themselves, they didn't
talk about it. If our bodies grew too large and cumbersome, we
hid them quietly. If we had sexual relations with our peers, only
our best friends knew about it. Nobody wanted to be confused with
a slut.
Joan Jacobs Brumberg's new book, The Body Project: An Intimate
History of American Girls, is an inspiring, eloquent survey
of the societal and psychological changes that have effectively
molded and shaped young girls during the past hundred years. Her
insight into Victorian culture and the succeeding eras--citing
historical sources, unpublished diaries of adolescent girls and
photographs--tells of a history that's crucial to us all: American
girls are in crisis. And it's not just a temporary, teen-angst
kind of thing.
In her previous award-winning work, Fasting Girls: A History
of Anorexia Nervosa, Brumberg explained that the category
of "girl" had all but disappeared. Because the term
was distasteful to feminists and childhood had withered in the
face of increasing precocious behavior among the young, "girl"
evoked negative connotations of a disempowered woman. In opposition,
Brumberg asked that girls be restored to the feminist research
agenda and for researchers to consider the impact of popular culture
on girls' collective behavior and sense of self.
Mary Pipher's best-selling Reviving Ophelia responded
in a wise and timely manner by asking why more girls are in therapy
in the nineties, why there are more cases of anorexia, bulimia,
self-mutilation and "cutting," and how, at the onset
of puberty, girls "crash into junk culture" fueled by
all the pain and pathology of adolescence.
Now, with The Body Project, we have a way of viewing the
young female body as history in a well-researched, lively study
of our century. Envisioning her book as a female "body,"
she outlines a series of biological events beginning with menarche,
or first menstruation, and moving through the changing experience
of female maturation chapter by chapter. Surprisingly, we learn
that girls today become sexually active at about the same time
their Victorian sisters first began to menstruate. Young women
are now maturing more rapidly than ever before, yet their minds
and emotional responses are still essentially childlike. Clearly,
this is a dilemma.
Brumberg sees the body as a kind of "message board"
that girls manipulate fiercely in their attempts to keep current
with the demands of popular culture. Slim, bob-haired women of
the twenties spelled out liberation from Victorian constraints;
pointy-braed sweater girls of the fifties begged for movie star
status; today's piercings, according to Brumberg, signify sexual
liberalism and erode distinctions between the public and private
with the merging of commercialism--Gautier, Madonna, some super
models--and exhibitionism.
The problem with adolescent exhibitionism, she notes, is that
it confuses the issue of intimacy and further blurs what is personal,
all at a time when sexual identity originates. "Although
we may not want to admit it, the current craze for body piercing
follows logically from the pared-down, segmented, increasingly
exposed, part-by-part orientation toward the female body that
has emerged over the course of the twentieth century. In fact,
in a culture where everything is 'up close and personal,' it should
not surprise us that some young women today regard the entire
body, even its most private parts, as a message board."
Though some may disagree with her analyses, Brumberg's historical
approach is often humorous and guided by a mature, thoughtful
stance. She is especially critical of our corporate culture, a
world that understands too well how to coerce adolescent wills
and weaken their self-esteem by implying that their bodies are
too fat, imperfect, impure, acne-ridden, smelly, geeky, and so
on.
Instead of nurturing and protecting early-maturing girls, we've
allowed the media and marketplace access to the souls of precarious
young women. "From an historian's perspective, our timing
has been off: As a society we discarded the Victorian moral umbrella
over girls before we agreed upon useful strategies and programs--a
kind of 'social Gore Tex'--to help them stay dry. We live now
with the consequences."
|
|