girls

The Girls’ History and Culture Reader: The Nineteenth Century

payal — Thu, 17 Mar 2011 08:00:00 +0000

Edited by Miriam Forman-Brunell, Leslie Paris

In 1982 Harvard professor Carol Gilligan published In a Different Voice, a revolutionary body of research articulating the unique psychological experience of being female in America. Responding to research that drew conclusions from studying boys, Gilligan’s exploration of the female experience was one of the first to focus on girlhood as an independent site for research rather than as a sub-category of Women’s Studies.

Since this formative publication, much headway has been made in researching girls’ lives both in and out of the academy. Following the format of a traditional academic collection, editors Miriam Forman-Brunell and Leslie Paris have succeeded in compiling a thoughtfully organized collection of girls’ historical research published in the past few decades. Though limited to American history and culture, the The Girls’ History and Culture Reader includes a diverse selection of essays that explore both the personal and political aspects of girls’ lives and lends itself to deeper reflection of girls’ participation in contemporary American Society.

A thoughtful introduction by the editors suggests, “In the nineteenth century, girlhood took many forms, reflecting the nation’s diversity, its divisions, and the particular circumstances of individual girls’ lives.” The The Girls’ History and Culture Reader explores the significance of age, education, race and class structure and the ever evolving and diverse experiences girls have with their bodies. Developing almost chronologically, each essay in one way or another leads up to the one that follows making for a coherent and well-executed read.

The collection begins with “The Life Cycle of the Female Slave” by Deborah Gray White, which documents adolescence on the plantation and the shift of younger girls’ socialization in sexually integrated atmosphere to a more strict separation when entering the workforce. This piece is followed by Anya Jabour’s “Grown Girls, Highly Cultivated,” a biographical telling of two sisters that offers an insightful look into female education in the Antebellum South. An insightful reflection on prostitution, Christine Stansell’s “Women on the Town” investigates the complex reasons for girls’ participation in this still stigmatized profession such as homelessness, companionship and autonomy. However, the essay I found to be most thought provoking and relatable was Carroll Smith-Rosenberg’s exploration of “The Female World of Love and Ritual.” Smith-Rosenberg highlights the importance of female relationships and the safety of female intimacy. The text relies on diaries and correspondence between females whose affections, though not physical, would challenge contemporary sexual categories. This essay also pays particular attention to mother-daughter relations positing a mother’s stable domestic role created a “closed and intimate female world” for girls to grow toward womanhood.

Written by: Alicia Sowisdral, March 17th 2011

Why Girls Fight: Female Youth Violence in the Inner City

alicia — Mon, 14 Feb 2011 20:00:00 +0000

By Cindy D. Ness

New York University Press

Ness holds doctorate degrees in Human Development, Psychology, and Anthropology and in Why Girls Fight she blends the theories and research methods from these three fields to discuss female youth violence. Ness argues that the majority of studies tend to examine either individual factors in explaining and understanding youth violence or emphasize sociological, macro-level factors. Ness’ interdisciplinary approach allows her to address how individual girls respond to and navigate the racial and class constraints as well as the limited economic opportunities within their communities.

Ness problematizes previous research on female youth violence. She addresses the racist and classist underpinnings of the term “violent girl” used in studies, noting that much of this research has relied on a framework in which girlhood is viewed through the lens of white, middle-class femininity. Within this framework girlhood is mostly associated with passivity and relational aggression (mean-girl behavior) if any aggression at all. Moreover, within this framework girls are almost always constructed as victims of violence rather than as agents of violence. Failing to address issues of race and class in relation to youth violence, Ness argues that much of the research depicts girls as delinquents or sociopaths and focuses on faults within the individual.

In acknowledging the social realities girls face in two working-class Philadelphia neighborhoods, Ness is able to sidestep this type of moralizing and pathologizing that taints much of the research on female youth violence. Ness offers a brief history on the economic decline of working-class neighborhoods in Philadelphia, noting how once major industries folded and left the city, entire households and even neighborhoods suddenly found themselves without jobs leading to rundown neighborhoods and schools without adequate funding.

Ness also conducts an ethnographic study, interviewing girls from these two respective neighborhoods on why they fight. In providing a space for the girls’ own words, Ness uncovers a complex set of reasons for female youth violence within the two neighborhoods, reasons ranging from a lack of upward mobility within their communities to issues of physical abuse at home. Furthermore, almost all the girls Ness interviews recognize that street fighting is considered a necessary survival skill within their homes and their communities.

Ness’ book is groundbreaking in addressing how mother-daughter relationships relate to female youth violence. Sidestepping the typical mother-blaming that occurs in studies on this subject, Ness examines how the girls’ mothers’ own views on street-fighting affect how they raise their daughters and she sheds light on the unreported incidents of mothers stepping into fights in order to protect their daughters and at times fighting alongside their daughters.

In neighborhoods that value the ability to handle oneself over passivity, Ness’ work clearly demonstrates that a white, middle-class framework of girlhood cannot begin to explain female youth violence and with Why Girls Fight Ness provides a more adequate model for future studies.

Written by: Kristen Lambert, February 14th 2011

Surfer Girls in the New World Order

barbara — Wed, 22 Dec 2010 00:00:00 +0000

By Krista Comer

Duke University Press

I was twelve years old when my mom moved to South Florida and I was first introduced to surf culture. My step-dad’s shed was filled with boards all different shapes and sizes and on the few rare occasions I did paddle out, it was always with him by my side—and with his help navigating the powerful ocean. I was interested and wanted to learn, but I was scared. I wouldn’t be good enough, I wasn’t strong enough, the boys would make fun of me, I’d get in their way, they wouldn’t like me. I had never been one to be intimidated before, especially by boys, but standing on the beach in my first bikini made me acutely aware of myself and of the dozens of boys that dominated the landscape. No matter how I longed to rush into the water and ride waves, my feet remained planted on the beach.

Krista Comer recognizes these and a host of other issues and arguments related to girls’ experience in surf culture. But rather than positing girls as victims of alienation, Comer explores the innovative and inspiring way in which girls have participated in a traditionally male-dominated sub-culture and what this means for women’s presence in the growing global economy.

Immersing herself in girl surf culture, Comer has constructed an accessible body of research that, while very readable, offers a fiercely intelligent commentary. Seeking a deeper understanding of women’s relationship to surfing as play and profession, and how this constructs and re-constructs traditional female gender roles, Comer focuses her research on the emergence of female professional surfers and their role in developing surf camps and trainings that enable girls and women to learn to surf. Positing surf culture as a unique site where community, play, environment, and economy intersect in a common narrative shared by most who participate in the culture, Comer pays specific attention to how female presence in the growing surf industry is part of an increased presence in the greater global economy: “Surfing thus constitutes rhetoric of optimism about the potential of globalization to advance the greater good.”

Beginning with an analysis of Gidget and the Las Olas Surf Camp, Comer deftly articulates how participation in surfing offers girls a space for the “expansion of gender norms related to femininity,” while also remaining critically aware of the traditional gender boundaries that remain intact, granting access only to a certain type of surfer girl. The author calls into account the privileged position of those who fit the “babe” archetype, such as World Champion and a-typical “California girl” Lisa Anderson, while offering examples of talented surfers such Mexican native Sofia Silva Sanchez, whose opportunities for professional development are hindered by their “non-babeness.” While the bulk of the industry has been created in Mexico, Comer points out not a single Mexican women owns or even manages a surf business and even as recently as 2004, no Mexican women or girls surfed the local break, the first being Sanchez.

Surfer Girls in the New World Order is thorough and acute; Comer situates her argument in the lived experiences of surfer girls and women while also drawing important connections to surfing’s place in the broader context of social and economic ideologies. By dedicating a significant amount of her process to exploring gender construction in the surf world as it is related to girls, her work continually celebrates the “playfulness of girl culture.”

Written by: Alicia Sowisdral, December 21st 2010

In the Time of the Girls

brittany — Wed, 29 Sep 2010 16:00:00 +0000

By Anne Germanacos

BOA Editions

When do you stop being a girl? When do you start? And, perhaps most importantly, what does it mean to be a girl? These questions are necessary ingredients in order to fully ingest Anne Germanacos’ debut work, In the Time of the Girls. An exploration of history and individual experience, the book forsakes the traditional plot-driven narrative for a collection of short stories which themselves are a mosaic of prose and dialogue infused vignettes, each individually titled.

Feminist theory discourages identifying women as a definitive group whose lives are bound to each other on the basis of a shared gender. However, I am consistently reminded how my experiences mirror those of the women I’ve encountered throughout my life. Germanacos shines in her ability to tap into the collective consciousness of women as she deftly articulates the moments where our lives intersect.

“Men on Crosses” is an abstract, yet poignant, story that uses biblical allegory to explore pregnancy, abortion, and the ever-present dichotomy of choice. “Sundering Twins” explores identity and sexuality through the relationship of two outcast individuals—“He was an orphan, she the lesser half of a pair.” My favorite stories include the titular chapter, “In the Time of the Girls,” a celebration of the many ways of being a girl, and “Infinity,” which begins by asking, “But was it a doll or a person, or both? And, who could say? The girls, I guess, who read the stories, or the mothers who read them to the little girls who couldn’t.”

In its best moments, In the Time of the Girls reads like a lost diary of your favorite Women’s Studies professor—one part feminist prose and one part academic text. A cacophony of insights, Germanacos bravely and creatively tackles gender, race, religion, imperialism, and more, always returning to the nebulous experience of being “girl.”

Written by: Alicia Sowisdral, September 29th 2010

Lost Girls: Sex and Death in Renaissance Florence

admin — Thu, 29 Jul 2010 08:00:00 +0000

By Nicholas Terpstra

Johns Hopkins University Press

Founded in 1554 by a group of charitable women who called themselves the Compagnia della Pietà, the Casa della Pietà, or Compassion House, was built in Florentine to shelter girls who had been orphaned or abandoned by their parents. The goal of the home was to keep children and adolescent girls from turning to (or being forced into) prostitution in the absence of familial support, and to provide them with the possibility of a dowry and marriage. Despite these good intentions, only 202 of the 526 girls and women who resided in the home survived their stay. As Nicholas Terpstra repeatedly asks in Lost Girls: Sex and Death in Renaissance Florence, “What was killing the girls of the Casa della Pietà?”

Terpstra sets out to solve this 456-year-old mystery using the limited documentation still available about the home, as well as other documents that discuss contemporaneous Florence. Throughout the text, Terpstra explores and elaborates upon various theories about what was killing the residents of Casa della Pietà, weaving these theories within the story of the home and the conditions of Florence of the era. In telling this story, Terpstra touches on topics such as the work available for adolescent girls, birth control and abortifacients (and the abortion debate), prostitution, and religious fundamentalism. Although the book is structured as somewhat of a mystery, Terpstra’s question about the fate of the residents is only one part of what is ultimately a social history of the Casa della Pietà and Renaissance Florence.

In terms of women’s history, the book is interesting in two ways. First, it discusses the challenges and options an orphaned or abandoned girl could anticipate facing at the time, even when external support was provided. Second, as was previously mentioned, a group of women established the Casa della Pietà. This was not the norm at the time. Although Terpstra warns against overly romanticizing these women, it is somewhat difficult not to, particularly when the author outlines the differences between the way the Casa della Pietà admitted girls and the way that contemporaneous shelters did, and when he compares Casa della Pietà under the guidance of Compagnia della Pietà to the way it operated once the founding members ceased their involved. As Terpstra notes, “these women challenged more than just the sexual politics of Renaissance Florence—they challenged its political and ecclesiastical establishment.”

The book contains fascinating, and sometimes shocking, information about Terpstra’s topic. I appreciated that Terpstra does not exclusively limit himself to the subject of Casa della Pietà, but uses the mystery of what happened to the home’s residents as a way to examine related issues. Admittedly, some of these discussions were less interesting to me than others. For example, although the section that discusses the textile work done by the home’s residents and the wool and silk industry in general is necessary to have as complete an understanding of the home as possible, I did find it difficult to get through because it is a topic in which I have little interest. This is my bias, however, and I appreciated the level of detail Terpstra demonstrated in this section when he turned this focus to topics that were more in line with my interests.

Overall, despite containing a few sections that were less interesting to me, the text puts forth considerable fascinating information. Perhaps most importantly, the text both taught me about a shelter I had never before heard of, and made me want to learn more about the topic and the social climate of Renaissance Florence and its impact on women and girls.

Written by: Erin Schowalter, July 29th 2010

Nothing But a Dog

admin — Wed, 14 Jul 2010 08:00:00 +0000

By Bobbi Katz, Jane Manning

Dutton Children's Books

Timmy and Lassie. Henry and Ribsy. Henry and Mudge. Shiloh, Sounder, Old Yeller. All great, classic stories. All beautiful illustrations of the so-called timeless bond between boy and dog. But where are the stories about girl and dog? There’s Because of Winn-Dixie and it, too, is a deservedly award-winning classic. But where is the rest of the canon? Finally, Opel and Winn-Dixie have worthwhile company with Nothing But a Dog, by Bobbi Katz, a picture book which manages to be both sophisticated and fun-loving.

Nothing But a Dog is told in the voice of a young girl who has a well thought-out argument about why when you long for a dog, nothing but a dog will do. Not parakeets, squirrels or kittens. Not soft, furry boots. There’s no activity fun enough to compensate, either. It is in the enumeration and illustrations of these allegedly lesser activities that the book really soars. In vibrant watercolors by Jane Manning, the girl “works at her own workbench with real tools,” rides a grown-up bike and climbs trees with a hat designating her Vice President of the Tree Climbers’ Club. (Another girl is president. A boy in the picture appears several branches below, but the girls are clearly the leaders). As the lively illustrations make clear, none of these activities are anywhere near the boring wasteland of time that the girl claims. But when you long for a dog, even playing the trumpet or going to monster movies (another wonderful illustration with the girls looking blasé and the boys terrified in their seats) can’t quell the longing.

The girl, although she remains unnamed, is real and appealing. She is calm, thoughtful, and adventurous, and knows how to present a convincing argument. Does she prevail in the end? Her parents, who make their only appearance on the last page, respond just the way one would hope to a daughter who knows how to vividly present her case.

Nothing But a Dog will appeal to both children and parents. While some children’s books about pets strive to present the sobering reality (it’s a lot of responsibility, kids!), this one is all about the joyous, free-form, muddy, messy, incomparable, unconditional love between child and dog. And, yes, it’s a lovely change to have that child be a girl.

Parents will be quick to notice that the book leaves out the darker side of dog ownership. Where are the chewed carpets, the scarred cabinets, the poor dead soles? (I refer to shoes and slippers.) The puddles? The vet bills? The forced marches through blizzards with small-bladdered pups? In case you’re wondering, yes, we did recently bring home a puppy in the middle of a Chicago winter. And that is precisely why I wanted to read this book. The magic of dog ownership was lost to me somewhere between February and the realization that the rugs were no longer salvageable. The wonder of the guaranteed happy greeting faded as I considered how our new friend resembled Tigger if Tigger were to be reincarnated as a weapon of mass destruction. I badly needed to recapture the messy magic. Perhaps it was a reflection of my mental state that before I read the book, I kept mistakenly referring to it as, “Anything But a Dog.” But meeting this lovely, strong girl and drinking in the illustrations has gone a long way towards reminding me why we all love a good girl-and-her-dog story.

Written by: T. Tamara Weinstein, July 14th 2010

American Girl Magazine (May/June 2010)

admin — Sat, 22 May 2010 08:00:00 +0000

American Girl Magazine

American Girl Publishing

I recently reviewed New Moon Girls Magazine and was particularly impressed with the way it provides interesting and encouraging content to young girls without succumbing to the harmful media trends that can potentially harm their self-esteem. American Girl Magazine is another publication that appeals to girls without excessively highlighting gender stereotypes. You won’t find articles here on how to win a boy’s affection or properly apply makeup. Rather, American Girl focuses on a combination of real world issues, like relationships with friends and family, and fun features like recipes, craft ideas, and quizzes. This particular issue offers the following sections:

Together Time—suggestions for activities to do with parents
Rooms for You—how to jazz up your room to fit your personality, be it earthy, artistic or sporty
Frosted Friends—recipes for baking and decorating cupcakes, complete with cupcake stickers
Which Friend Are You? And: Save or Spend? Quizzes
Small Stuff—tips for decorating your doll’s room
Puzzle Palooza
Puppy posters

The magazine also publishes quite a bit of content from its young readers. This issue alone features drawings, letters, recipes, and more from over fifty girls. In my opinion, this gives readers the feeling that they have a role in the creation of the magazine and that the things they mail in have a good shot at being included.

While some feminists might bristle at the “girly” aspects of the magazine such as the encouragement to bake, decorate rooms and hang up pictures of puppies, I do not believe that this undermines the positive potential of the magazine. Some young girls are just plain girly, and there’s nothing wrong with that so long as it’s by choice. American Girl does, however, forgo an unnatural focus on appearance, weight, or popularity. In this way, the magazine provides an excellent alternative to other publications that push agendas that are toxic to a young girl’s development.

Written by: April D. Boland, May 22nd 2010

New Moon Girls (The Beauty Issue)

admin — Sat, 01 May 2010 12:00:00 +0000

New Moon Girls

If you’re a parent or a person who interacts with and cares about children, you might have noticed some worrisome trends, especially among girls. I have seen girls as young as seven show concerns over “getting fat” or being unpopular. Bullying, body image conflict, and other issues seem to be plaguing young women earlier and earlier.

Most women who call themselves feminists would agree that enriching the younger generation is crucial. The statistics on young girls today are disturbing: according to the National Institute on Media and the Family, forty percent of girls between nine and ten surveyed had tried to lose weight. The NIMF also published study results that stated the following: “One in every three articles in leading teen girl magazines also included a focus on appearance, and most of the advertisements (fifty percent) used an appeal to beauty to sell their products.” This is getting serious, folks. We cannot continue to feed our daughters this kind of messaging and then wonder why rates for eating disorders and low self-esteem are so high. That said, I think it can sometimes be hard to give these girls positive messages that are digestible and make sense at their level. Who wants to listen to boring old parents anyway?

Thankfully there are forms of media to help. If your daughter, sister, or friend is drawn to magazines, hide their latest issue of Teen Beat and replace it with New Moon Girls. The magazine has so many fun sections that she will hardly miss it. New Moon puts a spin on traditional magazine sections to make them even more relevant for girls. Instead of a Letter from the Editor being written by an adult, girls who helped work on the magazine write it. The advice column provides advice from—you guessed it—girls. The entire magazine focuses not only on giving girl readers good content but also in making sure that it is credible and relevant by getting it from the very girls New Moon targets. Simply put, this magazine is genius.

The Beauty Issue (May-June 2010) is full of positive messaging and reinforcement, something girls today often lack from the media. The issue contains features on beauty including how to boost your body confidence, your favorite body part, and a piece on inner beauty, as well as short fiction. The idea of beauty is tackled from every possible angle, giving girls an opportunity to discover what they like most about themselves rather than showing them yet another picture of female celebrities and models.

I am encouraged and thrilled about magazines like New Moon Girls and my hope is that they will continue to compete with more mainstream magazines for the attention of young girls. (Hint: They can’t do so without our support!) This magazine is for anyone who wants a girl in his or her life to know just how special she is.

Written by: April D. Boland, May 1st 2010

Girl Trouble

admin — Wed, 07 Apr 2010 15:59:00 +0000

Directed by Lexi Leban, Lidia Szajko

New Day Films

Girl Trouble gives a glimpse of the underbelly of The City By the Bay. Set in San Francisco, this is not a story about the hippies of Haight Asbury, nor is it a tale of the modern liberal Mecca so many of us assume it to be. In fact, Girl Trouble could be set just about anywhere in the United States. The film follows three young women whose lives are entrenched in cycles of violence and who can barely keep their heads above water, let alone enjoy the splendors of the world around them. One attorney in the film explained it perfectly: "These girls live in a city where, from any point, the ocean is no more than seven miles away, yet they have never seen it."

Spanning four years, examining the ins and outs of the juvenile justice system, the audience follows Stephanie, a new mother battling domestic violence; Sheila, a drug user and dealer who comes from a family riddled with violence and addiction; and Shangra, who sells drugs to support her homeless mother. The girls are tied together by their mutual experience working at the Center for Young Women’s Development. The Center’s mission is to “empower and inspire young women who have been involved in the juvenile justice system and/or the underground street economy to create positive change in their lives and communities.” The three girls, to varying degrees and at very different stages, all eventually do make positive change in their lives. We see the continuum of that potential change amongst them with one essentially submitting to fate, one petrified but embracing recovery, and one starting her life anew.

Girl Trouble makes a clear case for the benefits of intervention in individual lives over prosecution, and highlights discrepancies within the system. According to the film, girls make up twenty-three percent of juveniles in the system nationwide, and less than five percent of the funding goes towards programming for young women, the fastest growing segment of the juvenile justice system. Stuck in the cycle of violence, girls can end up bouncing from group homes to survival crimes and back again. The film shows how people need a second chance to see that another path is possible and that jail does not provide girls with rehabilitative opportunities.

Written by: Nicole Levitz, April 7th 2010

Justice for Girls?: Stability and Change in the Youth Justice Systems of the United States and Canada

admin — Sun, 21 Mar 2010 00:01:00 +0000

By Jane B. Sprott, Anthony N. Doob

University of Chicago Press

In Justice for Girls?, Canadian researchers Jane B. Sprott and Anthony N. Doob provide a comprehensive and concise overview on girls and juvenile delinquency in these two North American countries. Sprott and Doob address the misconception, fueled by media reports and newspaper articles circulating in the U.S. and Canada, that girls are committing more crimes, and more violent crimes. The book asserts that contrary to popular belief, “the violent girl crime wave that people have been waiting for since the early 1900s...has simply not happened.”

In uncovering the hype behind sensationalized reports on girls and violence, the authors view juvenile delinquency as a social construction. In researching the number of violent girl crimes throughout the twentieth century, they assert that girls are less likely to commit violent crimes than boys. However, they note that girls make up a large percentage of juvenile delinquents and custody cases due to status offenses, so-called crimes in which girls can be arrested and tried for non-criminal behavior, such as sexual immorality.

Connecting the courts' motivations behind status offenses to women’s political movements, the authors make a convincing argument that girls have often born the brunt of a sociopolitical backlash as a parallel when women's movements are afoot.At these pivotal moments in history, juvenile court systems have tightened their surveillance of girls’ behaviors and criminalized girls’ sexual expression. As a result, Sprott and Doob argue, girls have historically been punished, and continue to be punished, for behavior and actions considered normal and acceptable for boys.

The authors discuss the limitations of their research, acknowledging the absences in their data with regards to race and class. Another absence in the book is a discussion of queer girls as well as trans girls and boys. Since sexual immortality—one of the most common status offenses girls are cited for—is not discussed at length, it is unclear if any of the girls convicted of this offense were/are queer or trans, and how their sexuality and/or gender identity influenced a court’s decision. Moreover, besides examining one case study, the authors do not offer girls’ own voices or their stories. Instead, they allow statistical evidence to speak for the injustices girls face in juvenile justice systems.

As a feminist scholar interested in the intersection of girls’ studies and media studies, I would argue that Sprott's and Doob’s work could benefit any researcher addressing the current hype surrounding girls and violence in contemporary Western societies.

Written by: Kristen Lambert, March 20th 2010

What’s Your Point, Honey?

admin — Mon, 23 Nov 2009 01:03:00 +0000

Directed by Amy Sewell, Susan Toffler

Initially you might believe that the lives of the women and girls introduced in What’s Your Point, Honey? will intersect in some intimate way. The opening scenes seem to insinuate a touching tale itching to unfold—and it does, but not in the way you might expect.

A triad of 10-year-old girls who are brilliant beyond their years are shown asking pedestrians if they’d vote a woman into the oval office and why America hasn’t been able to already. Seven idealistic college students are portrayed first as strong members of their own communities then as enthusiastic interns with COSMOgirl!’s White House Project on a mission to facilitate a woman becoming president by the year 2024. Teams of successful women tell of their perceptions of what they once believed they were allowed to do, and how they feel about it now knowing what they’ve accomplished.

While the eighty-seven-minute long film relies more heavily on observation than statistics, it still weaves a compelling account of how equal men and women really are, especially where politics, pay, and family are considered. Although the viewer never sees the physical lives of these women intertwine, there is something to be said for the foundation they all strive to build for each other.

Encouraging examples of these women’s effort to achieve a common goal line up over the hour and a half. One twenty-something intern works to pass a law that might end sex trafficking; the gaggle of young girls challenge their impressionable peers to answer the question that established women have been trying to solve for decades before: why haven’t we had a woman president?

“What I’m worried about with the presidency right now,” Mary C. Wilson (President and founder of The White House Project) intimates, “is that we’re looking for the perfect girl [and] perfection is something a lot of us have had to try to get away from.” Wilson’s point borders on terrifying as a Victoria’s Secret mannequin monopolizes the next frame. Two teenage girls are shopping to emulate the hard, plastic figures that surround them. The girls eye thongs, sample lip gloss, look in the mirror holding up tiny tube tops. This not-so-subtle sequence of images makes it painfully clear why COSMOgirl! and The White House Project are so perfect for each other. This is where girls are becoming women, and deciding what their priorities are.

There are moments in the film when I think COSMOgirl! must be thrilled that people have heard the brand name an extraordinary number of times. Yet, in the film’s defense, it’s not without scenes inspiring viewers to take action, or even drawing an uncomfortable lump into one’s throat. Even after three times through, I’m still happy to sit friends down in front of the film.

This film is for women who haven’t felt inspired to act on their own behalf because, well, in some circles women still have yet to arrive, and What’s Your Point, Honey? reminds us that is not okay.

Written by: Tatiana Ryckman, November 22nd 2009

High Glitz: The Extravagant World of Child Beauty Pageants

admin — Tue, 29 Sep 2009 16:54:00 +0000

By Susan Anderson

powerHouse Books

Style writer Simon Doonan’s foreword starts out High Glitz: The Extravagant World of Child Pageants. Doonan feels that beauty pageants geared for children are no more exploitative or harmful than cheerleading or little league. He writes that children learn endurance, losing gracefully, and social skills. It also gives them exercise and breaks from the tedium of childhood.

However, early on Doonan mentions he has never actually experienced the pageant world. Even if he had, undoubtedly child beauty pageants are a different experience for female children then for adult males. While Doonan paints an envious picture of pageant life from an outsider’s point of view, he still admits he can’t see contestants going on to the fame and glory for which their mothers aspire.

Interestingly enough, in his introduction for High Glitz, Robert Greene, another admitted outsider to the pageant world, chose to mention long suspected pedophile Lewis Carroll. Greene never mentions any outright connections to his, but instead he mentions Carroll because of his "appreciation" of young girls, and his observations of how they liked to dress up and be photographed. Greene’s point appears to be that pageants are healthy for little girls because dressing up gives them a sense of personal power and is an adequate form of play. Personally, I’ve seen too many cranky kids on episodes of Toddlers and Tiaras _and _Little Miss Perfect to believe Greene’s point, but he presents it in such a clear straightforward way, it very well could be believable.

Finally, we get to Susan Anderson’s book. Anderson, unlike Doonan and Greene, is very involved in the pageant world, as she has been photographing contestants for three years. Anderson writes in a journalistic style that gives the reader an inside look at this strange pocket of our culture, but unfortunately we don’t get to see very much. Anderson doesn’t write a lot, and instead, lets her photographs speak for her.

The photos are all of girls between the ages of a few months to thirteen years; all look more glamorous, more grown up, and more downright sexy than I did at my senior prom. Some of these girls still look precious, like elaborate child Madame Alexandra dolls, while some of them look eerie, like ageless collectible figurines symbolizing "true" beauty; all of the girls have a look of no longer being completely human. I also can’t help but notice how few children of color are featured.

The images are frightening: girls as young as three are making attempts at showing cleavage, endlessly exposing midriffs, and squeezing into super short skirts. What skeeves me out the most are the images of young girls holding stuffed animals, as their fancy dresses ride up around their waists. Many of these girls do look happy, but from watching many specials on this subject, I know many of these mothers pay money for coaching. I would have preferred to see quotes from the girls themselves about what they think of their clothes and situations, how they feel being dressed in ways, even as a teenager, I would never have been able to leave the house in. This coffee table book, unfortunately, does not shed much light on the pageant world for the genuinely curious.

Written by: Jen Klee, September 29th 2009

The Cult of Celebrity: What Our Fascination with the Stars Reveals About Us

admin — Sun, 30 Aug 2009 23:56:00 +0000

By Cooper Lawrence

skirt!

I must admit that I have a minor addiction to so-called celebrity news. I’ll read People magazine at the gym and admit to having a fascination with hearing more about my favorite stars. This addiction is explained in The Cult of Celebrity.

The book breaks down our addiction by first equating it to worship. Celebrities are, to some extent, deified. They are put on a pedestal, separate and special from the rest of us. They can get away with all sorts of things that us ordinary mortals cannot. Part of the draw, as Lawrence explains, is the charisma that most celebrities have in spades.

We are inundated with celebrity culture in today’s world, and as Lawrence says, “The number of people we know in the ‘artificial world’—actors, singers, sportspeople, TV hosts—is much larger than the number of people we know in the real world.” We’re drawn to know more about celebrities because of a kind of personal connection we may feel with them; the relationship we have with a celebrity (all one-sided) is easier than many of our real life relationships. Yet, our connection to a celebrity can bring us closer to those around us. When in doubt, you can often gossip about the latest celebrity info with an acquaintance and find common ground.

Not only do we love celebrities, but many of the teens and twenty-year-olds today want to be celebrities. Our culture has emphasized the importance of fame, and many people are desperate for it. We think it is a quick fix to our lives, and that when we’re discovered, all our dreams will come true. Why else would shows like American Idol and America’s Got Talent be so popular?

Thankfully, Lawrence addresses the issue of young girls and celebrity. Films, TV shows, music, magazines, advertisements, and books are everywhere that cater to the young consumers desire to be famous and beautiful. Much of this emphasizes the purely superficial as the most important. The book has tips and hints for parents to provide positive parenting for children, including how to become the role model for your children.

The complicated cult of celebrity examined by Lawrence also encompasses celebrity endorsements and celebrities doing good. More people know about the crisis in Darfur thanks to celebrities like George Clooney; whether this is a good or bad thing is another issue. Not simply revealing her opinions on celebrity, Lawrence uses psychologists, philosophers, academics and researchers to support the points she makes.

Written by: Kristin Conard, August 30th 2009

Girls, Feminism, and Grassroots Literacies: Activism in the GirlZone

admin — Sun, 12 Apr 2009 16:18:00 +0000

By Mary P. Sheridan-Rabideau

SUNY Press

Set in the late 1990s and early 2000s, Girls, Feminism, and Grassroots Literacies follows the short life GirlZone, a nonprofit in Central Illinois. Founded by two women living in Urbana-Champaign, GirlZone offered nontraditional workshops and other hands-on learning opportunities for girls in the area and its outskirts. Ranging from skateboarding lessons to a bi-weekly radio show, GirlZone sounds like it was very cool indeed.

I was really excited to receive this book, but it was disappointing in a number of ways. First, it's a real downer to read about how a neat nonprofit that was girl-centered simply flopped. Second, you have to plow through an academic, dry writing style to get to what should be the exciting meat of the book. It's written like a case study—notwithstanding the absence and misuse of punctuation, which grates on the nerves—rather than a narrative of what really seems like groundbreaking social work.

What is exciting is reading the interviews with girls who were activists in grade school, and finding out that they went on to become employed as journalists, radio DJs, and independent media producers. What's sad is that many of GirlZone's internal debates centered around whether or not to openly call themselves a feminist organization. While it's clear that the organization never had a solid funding or board structure, it's maddening to think that, being a nonprofit that focused on girls exclusively, they never really had a fair shot at funding. The author and one of GirlZone's founders, Aimee, both argue this point, and the statistics agree: Sheridan-Rabideau cites the fact that for every four private foundation grants to boys' groups, only one is given for girls.

One thing I did like about this book is that it made me, as a fundraising professional, want to go out and do something about that. It's high time for those numbers to change.

Written by: M.L. Madison, April 12th 2009

No Country for Young Girls

admin — Sat, 11 Apr 2009 10:26:00 +0000

Directed by Nupur Basu

Life on the Edge

No Country for Young Girls is a twenty-five minute question posed to India: "How can this country move forward while there is still profound gender discrimination against females?"

Director Nupur Basu introduces twenty-seven-year-old Vyjanthi, a mother of a three-year-old daughter. When she becomes pregnant with another girl, her husband and in-laws pressure her to an abortion. She flees to her parents’ house to weigh her options. Should she leave her husband and raise her daughters on her own? Or should she go back to her husband and accept that India is not a country fit for a mother to raise daughters?

Vyjanthi begins a journey to explore her country, its cultural and religious history, and what other Indian women who live in different regions of India have to say about her dilemma.

No Country for Young Girls is a startling contemporary view of the oldest prejudice in existence: boys more valued and valuable than girls. While sex-selective abortion is illegal in India, the numbers do not lie. In some regions of the country, there are a far greater number of boys than girls being born. The prevalent practice of selective abortion is leading to an imbalance of boys and girls living in India and, many predict, is heading for an unknown but monumental crisis. Girls’ worth is measured in the form of dowries, and infanticide reinforces that gender discrimination is still very much alive in all parts of India.

Vyjanthi takes her story of in-law harassment and unfairness to strangers in faraway corners of her country and finds she is not alone. She meets women in high executive positions, other mothers, regular citizens in discos and informal meetings. All of them raise different points, but all of them agree that India is still outdated in their thinking about gender. No Country for Young Girls asks many important questions, almost too many for such a brief film, that have no resolution or finality.

While the short film is not as engaging as one would hope and the journey for Vyjanthi seems a bit contrived for the sake of making a short film, the issues raised are still very much worth exploring and the reality of gender oppression in present-day India, and this film lays the issues bare for the world to see and debate.

Written by: Lisa Factora-Borchers, April 11th 2009