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AMERICAN.COM

A Magazine of Ideas

Valley of the Dolls

From the January/February 2007 Issue

As the anti-Barbie, the American Girl doll is an exceptional artifact that combines the commercial with the good, writes AMITY SHLAES. Mattel makes money, and kids learn history.

I’ve always had a soft spot for Barbie. I was born in 1960, a year after Ruth Handler launched the doll at the American International Toy Fair. Several months before I arrived, Ruth’s company, Mattel, went public at $10 a share. “Quickly spo­ken for,” noted The Wall Street Journal. By the age of nine, I had my own Barbie.

Mattel used to target the preteen set, but around the time my second daughter came to consciousness, a Barbie fad had consumed Brooklyn preschool­ers. The marketing crowd calls this phenomenon “KGOY”—kids growing older younger. I asked Daughter Number One if we might get Number Two to wait until first grade before her primary Barbie acquisition. The reply could have been crafted to bring joy to the heart of the retail analyst: “I don’t know, Barbie is pretty high here right now.”

American Girl (400)Still, Barbie has limits. The problem isn’t appear­ance, though the senior feminists are correct in one regard. Even after surgical adjustment, no human, at least not until Paris Hilton, has ever managed to look like that. The real challenge that Barbie represents is something subtler—what might be called Barbie’s factlessness.

A girl’s childhood is a passage through her own Valley of the Dolls. Girls spend hundreds of hours with these toys and absorb the cultural content the doll is meant to convey. Yet the infor­mation that Barbie supplies is relentlessly about relationships—between Barbie and Ken, between Barbie and her little sister, between Barbie and the crowd that admires her 2006 Fashion Fever black cowboy boots. A Barbie childhood is a content-free childhood. It is disconcerting, therefore, to see the leggy creature hogging so much space on the doll shelf.

But there’s another doll in this story, also from Mattel: the American Girl. She has a round childish face, the braidable hair of an eight-year-old, and, at least sometimes, glasses. The deeper difference, however, is that the American Girl’s culture is rooted in fact, not relationship. The glory is a series of 11 period dolls, each rep­resenting a different phase of American history.

At first I resisted this anti-Barbie. The cheapest starter kit for Felicity, the colonial doll, goes for $87. The American Girl product generally exudes an odor of political correctness—there’s a doll for every ethnicity—that made me want to bolt and splurge on the Barbie Hot Tub Party Bus ($64.74 at Wal-Mart). American Girl’s founder, Pleasant T. Rowland, used to be a teacher, and that too was irri­tating. In 1998, Mattel bought Pleasant Company, and a short time later, I relented. We acquired Kit, the Great Depression doll.

Then a friend handed down a Molly, American Girl’s World War II doll. Daughter Number One approved of her accessory school desk and the fact that she knew about knitting blankets for soldiers.

Next, we purchased Addy, the Civil War doll. She, like each of the dolls, came with a novelette about her time period. A bad plantation owner sold Addy’s father to another plantation; a bad overseer made Addy eat slugs. Then Addy and her mother escaped to freedom (we reread this story several times). Although we don’t have Josefina, we do have Josefina’s herb-gathering outfit—thank you, Grandma. And we do know she is Hispanic and lives on a rancho in the colonial New Mexico of 1824.

The deeper difference between Barbie and the American Girl is that the latter’s culture is rooted in fact, not relationship.

The facts and the stories hooked us. On Fifth Avenue, there’s an American Girl store we have vis­ited twice. Molly had her hair done there. After an unfortunate blow to her eye, Kit went off in a wheel­chair to the American Girl hospital. I have drawn the line at buying tickets to an American Girl play (about Addy’s flight), but my daughters are working to change their mother’s mind.

So are millions of other girls, including, appar­ently, those who live far away from the three American Girl Place stores. One and a half million girls and their parents traveled an average of over four hours last year to visit the American Place flagship in Chicago (there’s another in Los Angeles), spending an average of four hours and $225 there, pursuing such activities as dining on pancakes with their dolls.

To be sure, not all American Girl dolls have a his­tory theme. Another of the company’s big successes is the “Just Like You” doll: girls select a toy with the same hair color, eyes, and skin tone as their own.

Still, the American Girl doll warrants comparison as much to Harry Potter as to Barbie, for it achieves something that parents feared could never be. In the case of Harry Potter, the feat was getting kids to read books with words from the SAT. In the American Girl case, it was getting them to want to know that Pearl Harbor happened and that it was followed by food rationing and entry into war in Europe.

One of the great trips to midtown Manhattan of Daughter Number One’s childhood was our journey to American Girl Place to replace Molly’s broken glasses. This time, we got the tortoise shell model. Knowing more about Molly’s world enables my girls to understand a bit about their grandmother’s war­time childhood, including the blackouts. For much of my daughters’ lives, I’ve been writing a book about the Great Depression. To them that meant that I was too often out of their field of vision, typ­ing. Getting to know Kit, even my five-year-old learned that girls like to type—Kit has a typewriter with a ribbon—and that there might be a reason why her mother talks about Franklin Roosevelt.

The other day I noticed that Mattel’s CEO, Robert Eckert, had told analysts that American Girl Place in L.A. was “a hot ticket.” In 2005, after all, American Girl revenues rose 15 percent, while Barbie’s have fallen for 11 consecutive quarters worldwide. So much for KGOY in Brooklyn. Molly is probably too much of a lady to shove Barbie aside, but it’s heart­ening to see her, wireframes and all, claiming space beside the leggy and factless one, right there on the Mattel homepage.

 

Image credit: Illustration by Istvan Banyai


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