"Barbie Doll"

“Barbie Doll”
The poem “Barbie Doll” has a title that is meant to be the antithesis of the poem that follows. A Barbie doll is so simplistic and ubiquitous that the mere two-word description tells all that needs to be said about the object. This image of such a one-dimensional object serves to emphasize the complexity of the poem’s subject. The contrast between the poem’s subject and a Barbie doll is a recurring theme in this poem, and the poet uses it to show that not every female is cut out to fill the mold of society’s ideal Barbie woman.

“Barbie Doll” is arranged chronologically. This is shown in the mention of the subject being “born” in the first stanza and being “In the casket” in the last stanza. The first stanza focuses on the subject’s childhood. In the first line, it is mentioned that the subject was “born as usual.” This is the first of many assertions that she is perfectly normal and that society’s expectations, though usually considered to be the norm, are actually ridiculous. The subject is then “presented dolls… / and… stoves and irons.” Whoever presented her these things had the motive of impressing upon her society’s cut-out role for her: that of a housewife. The image of “lipsticks the color of cherry candy” combines visual and gustatory imagery along with alliteration, perhaps to invoke a female reader’s past experiences with that sort of lip gloss. After the conclusion of line 4, the subject is hit hard with the harsh consequences of failing to have the sort of body that society desires. The use of the word “magic” in the subsequent description of puberty provides the double meaning of both a physical transformation and a strange mystique. Based on what follows, it is used ironically, betraying the normally positive connotation of the word. “A classmate,” used in this instance as a metonymy for the rest of society, “said: / You have a great big nose and fat legs.” This stanza sets a foundation for the rest of the poem by showing that the subject is normal in her own eyes but unusual in society’s point of view.

The second stanza moves to a later point in the subject’s life. Judging by the mention of an “abundant sexual drive,” this is probably adolescence. This stanza has the same general idea as the first one, describing the subject as “healthy” and “intelligent” and having “strong arms and back, / abundant sexual drive and manual dexterity.” All of the qualities that the poet assigns to the subject are desirable, but, despite all of these redeeming traits, “She went to and fro apologizing” for her “fat nose on thick legs.” This time around, society is represented by “everyone.” This continues the trend of all of the people mentioned in the poem having a lack of individuality, contributing to the notion that society would prefer everyone to be the same. This stanza provides a transition from childhood to adulthood while showing that society’s attitudes toward the subject remain the same despite the change in her age.

The third stanza sticks to the theme of society’s expectations being unattainable. The demands become more ridiculous, urging her to both “play coy” and “come on hearty” at the same time, revealing an inherent paradox. Society also tells the subject to “Exercise, diet, smile and wheedle.” She’s supposed to engage in arduous activities while maintaining a happy disposition that suggests that she’s enjoying her life. Eventually, that happy disposition wears out “like a fan belt.” This image of a fan belt is effective not only in reminding the reader of what happens to such a tool after repeated wear and tear but also in placing the subject in the context of an engine or some other object normally associated with men. This masculine image flies in the face of all the work she’s been outwardly displaying in order to try to fit into the role of the ideal woman, showing a clear conflict between the subject’s external forced actions and internal thoughts and feelings. This burning out results in the subject “cut[ting] off her nose and her legs / and offer[ing] them up.” This could be interpreted in one of two ways. In one interpretation, she could have committed a gruesome suicide, dismembering her body by removing her troublesome nose and legs. In another interpretation, she could have “offered them up” to a plastic surgeon, finally caving in to society’s demands and deciding to fulfill the role of a Barbie woman. In either situation, the gap between this offering and the upcoming description of the subject in her casket represents the end of a life: either the subject’s actual physical life or her life as an individual. The third stanza is the climax of the poem, and it shows how society caused the either literal or figurative death of an unfortunate woman.

The final stanza focuses on the final product of society’s effect on the subject as she lies dead. She’s blessed with “satin,” “cosmetics,” and even a “turned-up putty nose” that society would be proud of for its cold arrogance. The colors of the “pink and white nightie” are an allusion to the signature colors of the Barbie brand, hinting at the subject’s full indoctrination. This is confirmed when “everyone” says that “she look[s] pretty.” At this point, the poet chooses to end the poem on an ironic note, deeming this “a happy ending” for the subject. This has the effect of making the reader want to disagree with the outrageous statement posed before them, helping the poet to prove her point. The last stanza drives home the point that was touched on at the end of the third stanza; society only looks favorably upon this woman after her death.

It’s impossible for every woman to fulfill the demands of a society that wants everyone to look like a Barbie doll. In some cases, death is the only thing that can allow a woman to fit into this ridiculous role. If the rules by which women are supposed to live cause some of them to die, those rules need to be changed. This poem calls for fundamental change in what society expects from women.