An Online Literary Journal for Poetry and Flash

Tag: Stereotype

My Mother, Feminism, and Barbie

Nonfiction by Anna Stolley Persky

When I was about five or six-years-old, I asked my mother for Barbie dolls. I also wanted the Barbie Dreamhouse, which had an elevator. My friend had several Barbie dolls and a Ken doll, along with the Dreamhouse, and we would spend hours dressing the dolls and sending them up and down the elevator, only to change their outfits again and send them back up and down the elevator. We had to hide the Barbies and Ken if my friend’s brother approached us because he would pop their heads off, but other than that, I found my Barbie time to be tranquil and wanted to replicate the experience at home.

It was the mid-1970’s, and my mother, who was just returning to work after having three children, was dabbling hard with feminism. Barbies, she said, did not represent our values. Barbie was a bad role model. Her body was unrealistic. Barbie, my mother said, was all about materialism. She cared only about her looks and fashion, maybe Ken.

My mother said she didn’t want me to become materialistic. She refused to buy me any Barbie dolls. I cried. My sister, five years older than me, comforted me, but didn’t relate at all. She had no interest in dolls of any kind, and also hated to dress up, which my mother made us do when we visited her side of the family. Sometimes my mother had the three of us wearing matching dresses embroidered with kittens. We even had matching brown tights.

But at Barbie she drew the line.

I kept asking for Barbie dolls. I longed to be handed a gorgeously attired Barbie with tiny high heels, still in her box, waiting for me to free her and undress her, then dress her again.

One afternoon my mother presented me with a garbage bag filled with naked hand-me-down Barbie dolls, their limbs tangled against each other, their hair knotted and matted.

“Here are your Barbie dolls,” my mother said. She then handed me a sewing kit. “If you want to dress them, you’ll have to learn to make their clothes.”

I didn’t touch them. I gave up on asking for Barbie dolls. I moved on to toys my mother wouldn’t find objectionable. But a simmering anger stayed with me. Even at that age, I knew that while my mother had made her point with dramatic flair, she had done so at my expense.

I grew up, went to college, then started applying to law schools. My mother asked me if I was sure I was smart enough to compete with all the young men in law school, and I remember thinking, ah there’s the mother I know, still one foot in and one foot out of the feminist movement.

After my first semester of law school, I flew from California to stay with my parents in their new house in Maryland. My mother led me on a tour around the house that she had decorated. We came to her study, and a giant glass-fronted cabinet filled with her latest hobby – collecting Barbie dolls. There were some traditional Barbies, dressed in pink or evening gowns, then one with roller skates, a cowgirl, a Barbie in a suit. Several of the dolls in her collection were from the 1970’s, some of them still pristine in their boxes. She’d also bought a tongue-in-cheek black market White Trash Barbie.

“You have to be f***ing kidding me, Mom,” I said, shaking, livid. “F***ing Barbies?”

My mother quickly reprimanded me, as she always did, for cursing. Then she asked me why I was so angry.

“You didn’t let me have Barbies, remember? They aren’t feminist.”

“I don’t remember that,” she said. “Or maybe I do. But that was a long time ago. See, they have career ones now.”

“Yeah,” I said. “I hate your dolls.”

My mother’s face crumpled. At that time, I loved to try and make my mother cry. If I succeeded, I felt happy and then overwhelmed with guilt. She started crying. I apologized, but for years, she couldn’t mention her Barbie collection without igniting in me a seething fury. Maybe she mentioned it to see if I would still get angry, and I responded in a sharp, spiteful way to see if she would still get upset. Maybe we needed to know that we were still connected enough to elicit emotion from each other.

My sister was unfazed by the Barbie collection. She told me in private they were ugly, but she didn’t care what our mother collected. She had plenty of leftover anger from our childhood and failing to meet our mother’s conflicted expectations, but none of them involved dolls.

“You were my real live baby doll,” my sister said to me years after our mother passed away. “Why would I want anything else?”

After about ten years, my mother sold off most of her Barbie collection, doll-by-doll. Each time I visited her, there would be a few less of them in the cabinet.

I inwardly celebrated their quiet disappearance. I said nothing to my mother for fear that my response would somehow change her mind, produce a rebellion against me, convince her to start collecting them again. It wasn’t long after that that I had my own babies, twins, to dress in matching outfits, but by then my mother was too weak to hold them.


Anna Stolley Persky, a lawyer and award-winning journalist, lives in Northern Virginia. She’s pursuing an MFA in Creative Writing at George Mason University. Her fiction has been published in Mystery Tribune and The Plentitudes. Her creative nonfiction has been published in Pithead Chapel.

The Single Story of a Latinx Pinocchio

Poetry by Amelia Díaz Ettinger

1.
My Puerto Rican aunt in North Carolina, lived in pearls, three-inch heels, and illusions.
There is bigotry for blacks, but we are white.
And yet a woman stopped her car at my aunt’s Corinthian columns
How much do they pay; I can pay you double.
The Gucci suit and diamonds was no shield.
Still, my aunt, mi tía, insisted; “ignorance vs. prejudice.”
(A PhD from Columbia in New York assured her notions had to be right).
What’s the difference?” I asked.
Don’t be impertinent.

2.
A woman with puffy bleached hair, and a ‘T’ shirt of compassion says,
Tell me your hardship story,” empathy fills her eyes, and I almost laughed.
I know what she wants, but living in a palace surrounded by cultured men would unhinge
what she expects and I am tired
half a century of talk. I want calm, and I want peace, and I want somehow to fit
in this olive brown skin, so I gift her;
Born in a shack without water or electricity. It was the slums, el barrio.
She tearily pats my knee, my father in his grave protests, ‘Remember Caruso and Barcelona’,
he says and I silence him, so I swallow memories in surrender
and I become the Latinx Pinocchio.

3.
It is easy to release a single story,
harder to pretend virtue,
so I talk in a soft voice,
when pain blinds me in anger.
And I work harder,
three times, five times, a billion times,
knowing it would not be enough
I still will be the sleeping effigy
under a large sombrero.
Above all entomb lust under a blue tarp,
along with my ambitions,
my culture, mi gente,
and my nose grows long,
but I can’t bury the rhythm of my hips,

4.
I can accommodate, I can give and I will take, will sigh after I cry, and smile until I make a grimace, but when my children are denied— yes— then, I will justify this constant view,

I will lose my temper.
Time after time, my children were told:
You can’t write Hispanic in these forms.
What do you want? Some sort of privileges?
You are white
I see the pain each time they denied
my part in them.

Now, my grandson is too young to understand,
“Yes!” he screams, “she IS my Nana,” Confusion in his eyes.
To me, carrying them in my arms:
“Where did you go to adopt these children?”
“Tell me the truth, are they adopted? Or are they albino?”
“No! You can’t possibly be their mama!”
This I cannot give.
Here I draw the threshold.
I will cut this wooden nose to spite my face.


Amelia Díaz Ettinger is a self-described ‘Mexi-Rican,’ born in México but raised in Puerto Rico. As a BIPOC poet and writer, she has two full-length poetry books published; Learning to Love a Western Sky by Airlie Press, and a bilingual poetry book, Speaking at a Time /Hablando a la Vez by Redbat Press, and a poetry chapbook, Fossils in a Red Flag by Finishing Line Press. Her poetry and short stories have appeared in literary journals and anthologies and have received honors and awards. A new full collection of poetry will be released by RedBat Press in the fall.

In Praise of Pink

by Heather Bartos

My daughter was four when she first noticed that at the pizza place, the girls’ bathroom was pink and the boys’ bathroom was blue. She asked why that was. I tried to explain to her that it was a stereotype to assume that girls liked pink and that boys liked blue. 

We went to the community pool a few weeks later. She eyed the woman behind the cash register as she gave us our tickets. 

“What do you think my favorite color is?” she asked. 

“Oh,” said the woman with a grandmotherly smile, “I bet you like pink!”

My daughter looked at her for just a second longer than necessary. 

“No,” she said. “That’s a stereotype. I actually like green.” 

The woman behind the register handed our tickets to me and said, “I think you’re working harder than me, honey.” 

The assumption that adults would be able to predict her favorite color based on her sex was enough to flip the rebellious, independent switch inside my daughter’s head to anti-pink. Hot pink seems okay—somehow that gets by without much comment—but for years now, she will not wear the color pink. She prefers baggy sweats in black or gray, camouflage T-shirts from the boys’ section, or ones that advertise Minecraft or Super Mario. 

I understand. I didn’t wear pink for years, either, until I somehow emerged on the far side of adolescence and remember a dress in a color known as ashes-of-roses that I wore to my eighth-grade graduation dance. Somehow dusting the pink with a tinge of gray and creating a nostalgic shade made it more acceptable. 

I came to the same realization that my daughter did, that I was supposed to like pink because girls were supposed to like pink, sometime in early elementary school. And I had the same reaction—no, thanks. I only remember one shade of pink in those days—pale, pastel, washed-out Crayola carnation pink. If I wore that color, people wouldn’t take me seriously. It was too fragile and too delicate. It didn’t mean business, didn’t get things done. Red was the color that got you noticed, worn on the lips of movie stars, swirled and swished on the hips of salsa dancers. Pink seemed immature and childish, belonging to babies and Barbies. 

It took years for me to reconsider the value of the color pink. 

Pink is the color of sunrise, of this weary old world waking up and hoping for something different today. Pink is wine coolers on the beach, strawberry daiquiris, the white zinfandel I sipped on Friday nights with my girlfriends at happy hour. 

Pink is the color of the lining of seashells, the curved canals of the inner ear, whispered secrets, intimate and vulnerable. 

Pink is the color of spring, of renewal and awakening, of blossoms blushing, of bees brushing. 

Pink is the color of cotton candy at the county fair, spun sugar clinging to fingers and lips, grainy gossamer dissolving into crystals on the tongue. 

Pink is the color of bridesmaids, of pick-me-up manicures and pedicures, of proudly polished toes emerging from sandals after the dark, wet winter. It is the color of the roses pinned onto girls and boys at millions of proms. It is in every Mother’s Day bouquet, every bunch of flowers picked by every preschool angel in every garden, every arrangement in every hospital for every new mother, every grieving family. 

It is the color that says we will be okay. It is the color scars fade to after the angry marks of surgery, the color that says we survived and that we are still here, still healing. It is the color associated with breast cancer, with the strength of being female, with nurture and nourishment. 

Pink is the color of the dahlias blooming right up until frost, the most luscious berry, the most luxuriant strawberry, the brightest rose and fuchsia, defiant on gray rainy October days, streaked with raspberry and sunset. 

Pink is the color for when red says it too loud, says it too fast, says it too hard. 

Pink is the color of human beings, underneath the shells of our skin, our true inner nature, our hidden Valentines trimmed in scratchy paper doilies and glued upon paper plates, the sprinkles on our cupcakes. 

Someday, we might live in a world where the alternative to traditional pink would not be camouflage. We should not have to be like traditional men to be untraditional women. We should not have to reject tenderness, the renewal of our own earth and our own flesh, in order to seek false strength. 

The defense of what is tender, what is true, and what is vulnerable is the most important fight there is. And as we welcome every springtime, as we heal our own wounds and the wounds of others, the color we will see is pink.


Heather Bartos lives near Portland, Oregon, and writes fiction, nonfiction, and poetry.  Her writing has been published in Miniskirt MagazineFatal Flaw Literary MagazineStoneboat Literary JournalPorcupine LiteraryYou Might Need To Hear This, and The Dillydoun Review, and upcoming in Scapegoat Review and The Closed Eye Open.

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