by Yolande Clark-Jackson
For over fifty years, the Barbie fashion doll has been put in the hands of millions of little girls and over time, the doll has become a pop icon that has sparked controversy. Barbie is sometimes charged with promoting an unrealistic standard for beauty, but over the years, she has also inspired many creative works. In Denise Duhamel’s collection of poetry entitled, Kinky, the doll is used in parody. What works about this collection besides its obvious cleverness, is that it gives the reader a myriad of vantage points on the same subject. All forty-three poems connect to Barbie, but each takes you in a different direction to contemplate the history, associations, and implications of what was intended to be simply a teenage fashion doll.
The collection is divided into four parts: Lipstick, Powder Blush, Mascara, and Eye shadow, representing all the things needed to keep Barbie’s face and image beautiful. In the first part, there are poems focused mostly on the cultural history of the doll. Duhamel pokes fun at Mattel’s attempt at cultural and ethnic sensitivity. In “Hispanic Barbie”, she writes: “Born in 1980, Hispanic Barbie looks exactly like Black or White Barbie. You can pretend she’s Spanish, Mexican, Puerto Rican, Columbian, Chilean, or Venezuelan. ..” My favorite poem, “Native American Barbie,” is a one-line poem that acts as a punch line: “There is only one of her left.”
The title poem, “Kinky” begins with Barbie and Ken switching heads in an attempt to “spice-up” their relationship. All the poems are free verse. Some employ dialogue while others employ narration. She uses specific details and word play to bridge the real world to Barbie’s imaginary one. Other titles include: “Anti-Christ Barbie”, “Buddhist Barbie”, “Literary Barbie”, “Barbie’s Molester”, and “Afterlife Barbie.”
In this collection, Duhamel does a comedic critique of society. She uses Barbie to cover topics such as sexism, feminism, racism, war, love, sex, exploitation, and religion. Her cleverness with subject matter and language can lend to deep contemplation and discussion, while other poems are just laugh-out-loud funny. Yet, the truth of her observations can be arresting, especially in poems like, “Manifest Barbie” where you learn:
In the Philippines
Women workers in fashion doll factories
Are given cash incentives
Facts like these are hard to swallow, so Duhamel makes sure to add humor. Satire works here along with every other connection to the doll and her well-known moveable and detachable parts. After reading this book, it will be impossible to look at the Barbie doll the same.
Duhamel, Denise, Kinky. Alexandria Virginia: Orchises Press: 1997.