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Deconstructing Dolls
Girlhoods and the Meanings of Play
Miriam Forman-Brunell, Miriam Forman-Brunell
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eBook - ePub
Deconstructing Dolls
Girlhoods and the Meanings of Play
Miriam Forman-Brunell, Miriam Forman-Brunell
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About This Book
In recent decades, emerging scholarship in the field of girlhood studies has led to a particular interest in dolls as sources of documentary evidence. Deconstructing Dolls pushes the boundaries of doll studies by expanding the definition of dolls, ages of doll players, sites of play, research methods, and application of theory. By utilizing a variety of new approaches, this collected volume seeks to understand the historical and contemporary significance of dolls and girlhood play, particularly as they relate to social meanings in the lives of girls and young women across race, age, time, and culture.
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Chapter 1
Dolling Up History
Fictions of Jewish American Girlhood
Lisa Marcus
Introduction
In spring 2009 the American Girl Company introduced Rebecca Rubin, a new Jewish American Girl historical doll (see illustration 1.1). Girls in Los Angeles lined up at 4 a.m. for her launch; New York families could coordinate their visit to meet the new doll with a tour of the Lower East Side Tenement Museum. Rebecca Rubinâs debut was exuberantly welcomed by both the mainstream and Jewish press, with The New York Times running a detailed story on 24 May 2009 about her origins and the extensive research that went into creating her. (Apparently, choosing hair color alone took yearsâitâs âmid-tone brownâ with ârusset highlightsâ). The Times reporter subjected the doll to a vetting by Abraham Foxman, of the Anti-Defamation League, who confirmed that âmost of the time these things fall into stereotypes which border on the offensiveâ (a fact evidenced by Foxmanâs own collection of Polish wooden dolls, depicting Jewish businessmen counting coins). The Rebecca Rubin doll, he was surprised to find, is a âsensitiveâ representation of Jewish girlhood (Salkin 2009). Jewish cultural critic Daphne Merkin (2009) wrote in Tablet Magazine about ârush[ing] to order her, despite my advanced years,â and Jewish mothers enthused on the American Girl website (2010) as they ordered dolls and accessories for Hanukkah. One lucky doll recipient gushed, âShe is just like me with greenish eyes, brown, curly, shoulder length hair, being Jewish, and loving acting. She could be my twin! I love this doll!.â Another wrote, âThis is the best doll ever!!!! She is soooo cute!!! It is also cool that she is Jewish!!! That will be very educational for so many people!!!! She is beautiful!!!!!!â A father, signing in as âPapa Rosenbaumâ raves, simply: âMazel Tov AG!â Real American girls can buy Rebecca for $95. They can also buy a Hanukkah set complete with a shiny menorah made in China, a Sabbath set that includes challah and shabbos candles, a school lunch kit that comes with a plastic bagel and the score for âYouâre A Grand Old Flagâ (along with the flag itself), and a pricey bedroom ensemble accompanied by two kittens. Rebecca and her many accessories and outfits can be had for the whopping sum of $901.95 before tax.
Anne Frank, American Girl
So what can a doll tell us about constructions of Jewish American girlhood? I want to contend that the eagerness and hunger with which girlsâand their parents and grandparentsâembraced Rebecca Rubin as an icon of Jewish American girlhood is significant, because the version of American history for sale in the Rebecca doll and the books that accompany her presents an idealized America in which anti-Semitism and anxieties about Jewish American identity are minimized and glossed over. One might counter, of course, that narratives for children quite appropriately offer gentler, more optimistic visions of history. And, indeed, the Rebecca Rubin books promote an affirmative vision of Jewish American identity that, as the website insists, offers a âgirl-sizedâ view âof significant events that helped shape our country, and ⊠bring history alive for millions of childrenâ (American Girl 2010). Yet the history represented in this work of childrenâs literature is instructive precisely because it illustratesâand taps intoâpatterns of ideological desire that resonate more broadly throughout the Jewish American imagination: the desire for fictions of a tolerant and welcoming America, and of a Jewish American identity that fits comfortably within it.
To appreciate the significance of the appearance of a Jewish American Girl in our current moment, the importing and Americanizing of the tragically iconic Jewish girl Anne Frank is instructive, for it reveals many of the same ideological pressures that shape the Rebecca Rubin version of American girlhood. Critics have ably outlined the troubling aspects of Anne Frankâs reception in the United States. Cynthia Ozick (2000) has argued trenchantly that Anne Frankâs story has âbeen bowdlerized, distorted, transmuted, traduced, reduced; it has been infantilized, Americanized, homogenized, sentimentalized; falsified, kitschified âŠ. A deeply truth-telling work has been turned into an instrument of partial truth, surrogate truth, or anti-truthâ (77â78). She cautions that the diary is not âto be taken as a Holocaust document,â and worries that it has âcontributed to the subversion of historyâ (78). Her quarrel is with the popular reduction of Anne into a sunny icon of hope most evident in the 1955 play and 1959 Hollywood film that rely too much on the optimistic spirit of Anneâs oft-quoted statement (taken out of context from the diary) that âin spite of everythingâ she believes people are basically good at heart. This âHollywood Anne,â as Tim Cole (1999) has called her, is quintessentially hopeful; she âcomforts us that people are still basically pretty decent, thus silencing any challenge that the Holocaust might make to our naĂŻve optimism in human potentialâ (77). As Bruno Bettelheim (2000) insists, the immense popularity of an idealized Anne stems from audiencesâ desire for a history that acknowledges the horror of genocide only to release us from the burden of its legacy:
Her seeming survival through her moving statement about the goodness of men releases us effectively of the need to cope with the problems Auschwitz presents. That is why we are so relieved by her statement. It explains why millions loved the play and movie, because while it confronts us with the fact that Auschwitz existed, it encourages us at the same time to ignore any of its implications. If all men are good at heart, there never really was an Auschwitz. (189)
Indeed, such audience desires directly shaped the construction of a âHollywood Anne.â As Ellen Feldman (2005) reports,
our need for a happy Anne, despite her profoundly unhappy ending, runs so deep that when preview audiences saw the last scenes of the original cut of the movie, which showed Anne at Auschwitz, they scrawled outrage on their opinion cards. This was not the Anne they knew. (n.p.)
That scene was scrapped and replaced with the hopeful voiceover.
One of the reasons Anne Frankâs narrative is so popular in the American imagination, these critics challenge, is that âHollywood Anneâ doesnât really die, at least not in front of us. Lawrence Langer (2000a), arguing that âupbeat endings seem to be de rigueur for the American imagination which traditionally buries its tragedies and lets them fester in the shadow of forgetfulnessâ (200), suggests that âone appeal of the diary is that it shelters both students and teachers from the worst, to say nothing of the unthinkable, making them feel they have encountered the Holocaust without being threatened by intolerable imagesâ (Langer 2000b: 204). Martha Ravits (1997) adds, âIt has served like Perseusâs shield as a polished mirror in which a viewer can behold the face of atrocity without being paralyzed by itâ (18).
At stake in such critiques are important issues about the uses to which historical memory (or amnesia) are put. The Americanization of Anne Frank feeds a desire for a flattering and exceptionalist American self-imageâone of benevolence, innocence, and affirmation of diversity. Mark Anderson (2007) writes that while child narratives such as Anne Frankâs âhad the undeniable merit of winning the hearts of mainstream, non-Jewish audiences in the 1950s and 60s ⊠they also set the terms for an Americanization of Holocaust memory that privatized and sentimentalized the historical event [and] ⊠they also depoliticized and sacralized the Holocaust, filed off the rough edges of the Jewish protagonists, and sought reconciliation rather than confrontation with the gentile worldâ (19). I share his worry that too often Anne Frankâs story is embraced as a vehicle for âteaching toleranceâ and that this is frequently based on what he calls âno cost multiculturalism,â which âprovides the illusion of diversity without requiring that anything or anyone actually changeâ and âgoes hand in hand with an almost complete lack of historical perspectiveâ (17). Startling, then, is the fact reported by Francine Prose (2009) that while 50% of American schoolchildren had studied Anne Frank in a classroom assignment in 2004, 25% of American teenagers in another study could not correctly identify Hitler (253â254).
That Anne Frank continues to be symbolically important to Americans can be seen in the plan, as reported in the New York Daily News, 17 April 2009, to plant at Ground Zero, in commemoration of the 9/11 attacks, a sapling from the tree that Anne gazed at from her hidden attic in Amsterdam. If such Americanization of Anne Frank werenât troubling enough, her transformation into an American girl was almost completed in 2004 when a Long Island congressman petitioned for her honorary U.S. citizenship. Though the petition was not successful, Islip Town Council member Christopher Boykin regards âAmerica as Anne Frankâs natural home. Who better than this country to afford Anne Frank citizenship? Itâs been a place that has been safe for the Jews literally since day oneâ (Clyne 2004). While history proves otherwise, it is compelling that an elected official would hold to such a romantic view of Jewish American history. But that view is matched by many, including the American Girl Company.
History for Sale
Sue Fishkoff (2009), writing for The Jerusalem Post, asserts in her review of the Rebecca Rubin doll, âJews love history, especially their own.â She goes on to suggest that
Jewish parents hip to the American Girl formula of nicely-made dolls and well-written books about the period of American history they represent, wanted a piece of their own peopleâs story to give their daughters. âThis is our history, right here in this doll,â says author Meredith Jacobs of Rockville, Md., host of The Modern Jewish Mom on The Jewish Channel. (n.p.)
Another mother, writing in to the American Girl website (2010), gushes: âI love that when you buy an AG historical dollâyou are also buying a bit of the past!â I want to think here about what it means to âbuy a piece of the past,â particularly a piece of Jewish American history that has been sanitized and reconstructed in frilly white pajamas with two pet kittens. All of the American Girl historical dolls are created with a boxed-set of six books that lay out the girlâs story in a particular year (always ending in 4) in American history. The books are researched, and include historical appendices that add authenticity to the fictional tales offered within the covers. Rebecca Rubinâs story is set in 1914, a shrewd choice that was evidently vetted with Focus Groups and historical research initiated by the American Girl marketing department. Setting the fictional Rebecca, who is nine years old in the stories, in 1914 strategically allows the American Girl Company to present an upbeat Jewish American history that highlights âassimilation, blending in and becoming American,â as the senior vice president for marketing, Shawn Dennis reports in the Times article (Salkin 2009). 1914 is safely past the Triangle Shirtwaist Factory fire (1911), prior to the lynching of Leo Frank in Atlanta in 1915, and well in advance of the drastic restrictions of 1924 that effectively choked off immigration from Eastern Europe, as nativist legislators sought to control the racial and ethnic make-up of the United States, sometimes explicitly stating that their efforts would curb Jewish migration. It also falls before the implementation of quotas limiting Jewish enrollment at elite universities, and importantly, it allows for a pre-Holocaust Jewish America unscarred by the Nazi genocide.
Housed within the confines of this carefully selected historical moment, the Rebecca stories construct an idealized, triumphalist immigrant narrative of a welcoming America and a Jewish American girl whose potentially conflicting identities are happily fused and only minimally challenged. In the first book, the question of naming is easily resolved when cousin Moyshe Shereshevsky announces, âitâs no more Moyshe Shereshevsky⊠I am Max Shepherd, if you please ⊠an American name for an American actorâ (Dembar Greene 2009a :8). While âBubbieâ grumbles that âyou donât change a name like a dirty shirt,â (8) her old world view is swept aside as Maxâseemingly with no effortâbecomes a rich movie actor and contributes his first paycheck to help finance the passage for Rebeccaâs cousinâs family to flee the Pogroms of Russia just in time to avoid conscription in the war. Indeed, the Historical Notes to the Rebecca series feature a poster (on display at Ellis Island), which contrasts the anti-Semitic old world to the welcoming new world (see illustration 1.2).
When the cousinâs family arrives, in the second book in the series, Max and Rebecca serenade the new immigrants with a loud rendition of âYouâre a Grand Old Flag,â emphasizing âfreeâ and âbraveâ in the lines, âYouâre the land I love, the home of the free and the brave âŠâ (Dembar Greene 2009b: 5). Even Bubbie nods in time with the music while âGrandpaâ (too assimilated, we assume, to be called Zadie) taps his foot. The thick patriotism of this narrative offers a syrupy version of easy assimilation highlighted when newly arrived cousin Ana is featured in a duet with Rebecca singing George M. Cohanâs lyrics at a school assembly to celebrate the arrival of a new flag for display. In the auditorium, under the golden lettering of the ânames of famous Americans: George Washington, Thomas Jefferson and Abraham Lincolnâ (66), the two Jewish girls belt out their patriotic song, pledging allegiance to a welcoming America in which new immigrants quickly lose their accents, assimilate, and move out of the tenements and into the American dream. This matters to American Girl marketers, because in order to sell this âbit of historyâ to moms like those cited above, Rebecca canât live in a tenement like the one Lewis W. Hine photographed in 1910 (see illustration 1.3). Her bedroom set has to be cute enough for little girls to want to play house with (see illustration 1.4), and should include matching pajamas for doll and girl.
To be sure, these books chronicle Rebeccaâs struggles as well, but these are limited to anxieties that are easily resolved. She manifests just enough nascent feminism to appeal to contemporary mothers, evidenced best when she grumbles about the gender-segregated synagogue in which her brother is bar mitzvahed. Scolded for her kvetching, Rebecca is reminded by Bubbie that, âto be a good Jewish wife and mother ⊠you must keep the house kosher and observe the Sabbath every week. The men will do the Torah readingâ (Dembar Greene 2009c: 6). She later performs a daring Coney Island rescue of her cousin stuck on a broken ferris wheel, asserting her girl power without really challenging the patriarchal status quo.
Her chutzpah resurfaces in the final, and most politically radical, of the books when Rebecca becomes a veritable voice for the union after her uncle and cousin strike to protest the miserable conditions of garment workers. As Rebecc...