Enhanced descriptions from Syndetics:

A fascinating and poignant collection of twenty essays and five poems exploring Barbie's forty years of hateful, lovely, disastrous, glorious influence on us all from award-winning authors such as Jane Smiley, Meg Wolitzer, and Carol Shields.

To some she's a collectible, to others she's trash. Since her creation in 1959 by Ruth Handler, Barbie has become a worldwide icon and an extremely divisive topic. To some she represents an inspiration to young girls, to others she has only wreaked havoc on feminist progress. No other tiny shoulders have ever had to carry the weight of such affection and derision, and no other book has ever paid this notorious little place of plastic her due.

The twenty-three authors who contributed to this book--including Meg Wolitzer, Jane Smiley, Carol Shields, Anna Quindlen, and Ann duCille--explore how Barbie has affected their lives, and delve into the numerous controversies Barbie has faced over past decades and the complex issues of race and conformity in the toy industry.

Whether you adore her or abhor her, The Barbie Chronicles will have you looking at her in ways you never imagined.

Table of contents provided by Syndetics

• Introduction
• Who's That Girl?
• Golden Oldie
• Dangerous Curves
• Barbie Buys a Bra
• Elegy for My Mother
• Teen Idol
• Leslie Paris
• Barbie Meets Bouguereau
• Barbie's Body Project
• Wendy Singer Jones
• Sex and the Single Doll
• Yona Zeldis McDonough
• Happy Birthday to You!
• Barbie at 35
• Anna Quindlen
• My Mentor, Barbie
• Barbie in Black and White
• Barbie Does Yom Kippur
• Rabbi Susan Schnur
• Postmodern Muse
• Photographing the Dolls
• Jeanne Marie Beaumont
• Of Mere Plastic
• Planning the Fantasy
• Wedding
• Holocaust Barbie
• Barbie's Gyn Appointment
• Material Girl
• Barbie Gets a Bum Rap
• Our Daughters, Their Barbies
• I Believe in Dolls
• You Can Never Have
• Too Many
• Barbie Doesn't Live Here
• Anymore
• Barbie, Twelve-Step Toy
• Twelve Dancing BarbiesErica Jong
• Barbie as Boy
• Notes and References
• Contributors
• Index

Excerpt provided by Syndetics

Introduction When I first sat down in the summer of 1997 to pen a piece about Barbie, I imagined writing a wry, affectionate defense of the sexy little doll who seemed to be getting so much bad press. Little did I know how Barbie had changed in the three decades since she and I had parted company. I didn't really understand the fantastic impact she had made on American culture during those years nor the maelstrom of controversy that her mere name seemed to elicit. But the publication of my essay on the back page of The New York Times Magazine filled me in quickly: Barbie had been busy all this time, what with her brand-new professions, newly reconfigured face, hair, and, yes, even body. Ever since her 1959 debut, Barbie has been an amazingly popular doll. Created by Ruth and Elliot Handler in the late 1950s and named for their daughter, Barbara, Barbie has her origins in the German Lilli doll, a quasi-pornographic toy intended for men. The Handlers cleaned her up and toned her down before presenting her to the American market, but her inherent sexuality -- so stunning in a world of baby dolls and little girl dolls -- remained intact, just waiting for a generation of American children to discover her. Discover and fall head over heels in love. Her phenomenal success in the intervening years has spawned enough Barbie dolls to populate a small planet, to say nothing of the ancillary characters -- Skipper, Francie, Midge, Ken, Allan, and Kelly -- that fill her world. The girls who played with the very first Barbies are now grown, with Barbie-toting daughters of their own. But Barbie continues to exert a hold on their imaginations, as well as the imaginations of the boys who watched -- envious, disdainful, titillated, curious -- as their sisters, cousins, friends, and neighbors dressed, and undressed, their sexy, ever-so-adult-looking dolls. Forty years after her debut, Barbie is big news and big business. Millions of dolls, clothes, accessories, and paraphernalia are bought and sold every year. There are Barbie conventions, fan clubs, Web sites, and scores of publications. There is also, I soon discovered, a whole new literature of Barbie that emerged in the shadow of the consumer frenzy she created. She has inspired novelists and poets, commentators and journalists, and academics from a wide range of fields. No longer just a child's toy, Barbie has become an icon and a fetish -- to some angelic, to others depraved. And as such, she serves as a kind of springboard for a whole range of cultural discourse, some philosophical and reflective, some lighthearted and appreciative, some furious and damning. The Barbie Chronicles both grows out of and adds to the current conversation about Barbie. In it, I have included twenty essays and five poems written from varying intellectual perspectives as well as differing emotional ones. Some are original works commissioned specifically for this volume; others are reprinted from existing material. But whatever the take on Barbie is, it is never neutral. Anna Quindlen proposes driving a stake through Barbie's plastic heart, while Melissa Hook remembers her as a conduit through which she could connect with her frosty and distant grandmother. For these writers, Barbie has a talismanic power, one that illuminates both the world without and the self within. Here then are stories that will, I hope, shed a little more light on the meaning of America's most beloved, most notorious piece of posable plastic. Copyright © 1999 by Simon & Schuster Sex and the Single Doll Yona Zeldis McDonough Now that my son is six and inextricably linked to the grade school social circuit, he gets invited to birthday parties. Lots of them. Whenever I telephone to say he's coming, I always ask for hints on what might be a particularly coveted gift for the birthday child. And whenever that child is a girl, I secretly hope that the answer will be the dirty little word I am longing to hear: Barbie. No such luck. In the liberal Brooklyn neighborhood where we live, there is a definite bias against the poor doll, a veritable Barbie backlash. "My daughter loves her, but I can't stand her," laments one mother. "I won't let her in the house," asserts another. "Oh, please!" sniffs a third. But I love Barbie. I loved her in 1963, when she first made her entrance into my life. She was blond, with a Jackie Kennedy bouffant hairdo. Her thickly painted lids (carved out of plastic) and pouty, unsmiling mouth gave her a look both knowing and sullen. She belonged to a grown-up world of cocktail dresses, cigarette smoke, and perfume. I loved her in the years that followed, too, when she developed bendable joints; a twist-and-turn waist; long, silky ash-blond hair; and feathery, lifelike eyelashes. I never stopped loving her. I never will. I've heard all the arguments against her: She's a bimbo and an airhead; she's an insatiable consumer -- for tarty clothes, a dream house filled with garish pink furniture, a pink Barbie-mobile -- who teaches little girls that there is nothing in life quite so exciting as shopping. Her body, with its buoyant breasts, wasplike waist, and endless legs defies all human proportion. But at six, I inchoately understood Barbie's appeal: pure sex. My other dolls were either babies or little girls, with flat chests and chubby legs. Even the other so-called fashion dolls -- Tammy, in her aqua-and-white playsuit, and Tressy, with that useless hank of hair, couldn't compete. Barbie was clearly a woman doll, and a woman was what I longed to be. When I was eight, and had just learned about menstruation, I fashioned a small sanitary napkin for her out of neatly folded tissues. Rubber bands held it in place. "Oh, look," said my bemused mother, "Barbie's got her little period. Now she can have a baby." I was disappointed, but my girlfriends all snickered in a much more satisfying way. You see, I wanted Barbie to be, well, dirty. We all did. Our Barbies had sex, at least our childish version of it. They hugged and kissed the few available boy dolls we had -- clean-cut and oh-so-square Ken, the more relaxed and sexy Allan. They also danced, pranced, and strutted, but mostly they stripped, showing off their amazing, no-way-in-the-world human bodies. An adult friend tells me how she used to put her Barbie's low-backed bathing suit on backwards so the doll's breasts were exposed. I liked dressing mine in her pink-and-white candy-striped baby-sitter's apron -- and nothing else. I've also heard that Barbie is a poor role model for little girls. Is there such widespread contempt for the intelligence of children that we really imagine they are stupid enough to be shaped by a doll? Girls learn how to be women not from their dolls but from the women around them. Most often this means Mom. My own was a march-to-a-different-drummer bohemian in the early sixties. She eschewed the beauty parlor, cards, and mah-jongg that the other moms in the neighborhood favored. Instead, she wore her long black hair loose, her earrings big and dangling, and her lipstick dark. She made me a Paris bistro birthday party with candles stuck in old wine bottles, red-and-white-checked tablecloths for decorations; she read the poetry of T. S. Eliot to the assembled group of enchanted ten-year-olds. She was, in those years, an aspiring painter, and her work graced not only the walls of our apartment, but also the shower curtain, bathroom mirror, and a chest of drawers in my room. She -- not an eleven-and-half-a-inch doll -- was the most powerful female role model in my life. What she thought of Barbie I really don't know, but she had the good sense to back off and let me use the doll in my own way. Barbie has become more politically correct over the years. She no longer looks so vixenish, and has traded the sultry expression I remember for one that is more wholesome and less covert. She now exists in a variety of "serious" incarnations: teacher, Olympic athlete, dentist. And Mattel recently introduced the Really Rad Barbie, a doll whose breasts and hips are smaller and whose waist is thicker, thus reflecting a more real (as if children wanted their toys to be real) female body. None of this matters one iota. Girls will still know the real reason they love her -- and it has nothing to do with new professions or a subtly amended figure. Fortunately, my Barbie love will no longer have to content itself with buying gifts for my son's friends and the daughters of my own. I have a daughter now, and although she is just two, she already has half a dozen Barbies. They are, along with various articles of clothing, furniture, and other essential accoutrements, packed away like so many sleeping princesses in translucent pink plastic boxes that line my basement shelves. But the magic for which they wait is no longer the prince's gentle kiss. Instead, it is the heart and mind of my little girl as she picks them up and begins to play. I can hardly wait. Copyright © 1999 by Yona Zeldis McDonough Excerpted from The Barbie Chronicles: A Living Doll Turns Forty by Yona Zeldis McDonough All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.

Reviews provided by Syndetics

Library Journal Review

No longer just a child's plaything, "Barbie has become an icon and a fetishÄto some angelic, to others depraved." In honor of Barbie's 40th birthday, McDonough (Tying the Knot) has collected 20 stories and five poems in one volume: Steven Dubins's essay on Barbie's origins as a German pornographic doll; Jane Smiley on Barbie's "genius," which took girls from big hairdos and pink jeans to women's self-knowledge and rights; Anna Quindlen on her desire to "drive a stake through Barbie's plastic heart"; and a lots of essays with priceless titles ("Barbie Does Yom Kippor" and "Sex and the Single Doll"). Speaking largely to today's 30- to 45-year-olds, the varying intellectual and emotional perspectives here make for an engaging blend of idiosyncratic remarks and in-depth social commentary. Comparable in its irreverent style to Adios, Barbie: Young Women Write About Body Images and Identity (Seal Pr.-Feminist,1998); recommended for public and academic libraries.ÄKay Meredith Dusheck, Univ. of Iowa, Anamosa (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Publishers Weekly Review

Since her birth at the hands of Ruth and Elliot Handler in 1959, Barbie has been decried for her bad influence on girls' self-esteem and become the object of praise for her ability to elevate girls' play beyond baby dolls and kitchen sets. Though she's only a molded hunk of plastic, Barbie has wielded a curious amount of power over the last 40 years. McDonough (Tying the Knot) attempts to present differing points of view about Barbie, but the overall tone is one of admiration, even from the doll's critics. Anna Quindlen wistfully imagines driving a silver lam‚ stake between Barbie's perfect breasts, while Ann duCille discusses issues of race and conformity, positioning Barbie at the center of what's wrong with the doll section of toy stores. Other essayists strike a gentler tone: Jane Smiley, Erica Jong, Carol Shields and Steve Dubin see the dark side of what the doll could represent to young girls, but recapture the original, guilty delight they felt when posing, defacing and, predominantly, undressing her. This well-chosen group of writers artfully explores the world that created Barbie, the childhood selves the authors remember and the meaning behind one of our era's most controversial pieces of plastic. (Oct.) (c) Copyright PWxyz, LLC. All rights reserved

Kirkus Book Review

A collection of essays, and some poems, about the posable plastic icon at the 40th anniversary of her creation. Everyone has an opinion about the Barbie doll. Created in 1959 by the founders of Mattel (and named for their daughter Barbara), she was the first American-made doll to represent the world beyond the nursery, and if her proportions are unreal, her influence on millions of little girls, as well as on popular culture, is indisputable. McDonough, whose 1997 essay in the New York Times Magazine was the jumping off point for this book (and who is a former Kirkus contributor), has herein gathered a diverse and mostly talented group of writers to celebrate, denigrate, and otherwise explain what Barbie has come to stand for in American society. Exemplifying as it did the conflicted mores of the late 1950s, with her body that, while obviously sexual, lacks nipples or genitals, the creation of the Barbie doll also coincided with the second wave of feminism and the surge of the civil rights movement. The best essays in this collection discuss Barbie as seen through the lenses of sexuality, gender, and race. In ``Barbie Meets Bouguereau,'' Carol Ockman places Barbie's body in context of other idealized notions of feminine beauty. In ``Black Like Me,'' Ann duCille explores the Mattel company's many attempts to create Barbie dolls of color and realizes that the message of their packaging, meant to convey black pride, ``is clearly tied to bountiful hair, lavish and exotic clothes, and other external signs of beauty, wealth, and success.'' Sherrie Inness points out that Barbie alone, in contrast to other dolls on the market, represents independent single women and their diverse career options. Good, bad, or indifferent, there's obviously still fun to be had in playing with Barbie dolls. (8 pages b&w photos, not seen)