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Kennedy presents a lineated poem that describes her early childhood experiences at school and at home. The poem describes her attempts to understand how she got to where she is today. She retraces these steps lying on the floor.
Kennedy describes an early Barbie doll called Teen Talk Barbie released by Mattel in the early 1990s (23). The doll had 270 programmed phrases, but each doll could only say four of the phases. Mattel later discontinued the doll because of a phrase about not liking math class (24). Shortly thereafter, Mattel released a new model of the doll that didn’t say anything. Kennedy considers this doll as a metaphor for how she learned “to navigate [her] feminine interests” throughout her childhood (24). She and her sister Kelly Kennedy grew up in the same Virginia household with the same parents but had different interests. Kennedy shared some of Teen Talk Barbie’s opinions about school. Kelly was the cooler sister and Kennedy often imitated her and her friend Monica’s habits, games, and styles. Over the years, she developed her interests based on what other girls were doing, saying, and wearing and on popular television shows and music groups.
Kennedy particularly enjoyed mall culture and loved Limited Too. The hip store was branded around girl power and a girl’s world (29). She and her friends would spend long afternoons at the mall wishing they could buy everything they saw, particularly at stores like Limited Too. However, Kennedy didn’t often have the money to afford the most popular brands, including Abercrombie & Fitch. She wonders how these trends influenced how she saw herself and how she understood what it meant to be in a girl’s world (32). In part, Kennedy loves this part of her childhood and doesn’t want to be ashamed of it. However, she also acknowledges that some parts of this era were dangerous because Teen Talk Barbie and Limited Too, as well as other games like Mall Madness, Dream Phone, and Girl Talk, were telling her what it meant to be a feminine girl (34). She still wonders if she was empowered or limited by these trends (36).
Kennedy offers an in-depth description of the American Girl brand. She remembers how much she loved looking at American Girl magazines and making wish lists of all the accessories she wanted. Her grandfather gave her the Kirsten doll. She soon began reading the American Girl books, too, which offered her a deeper look into girls’ lives during various historical eras that she didn’t get in school (40). She considers the importance of these stories and the shortcomings of the brand in representing a diversity of American girls (41). She supports the original ethos of the brand but also acknowledges how it devolved.
Kennedy had a daybed growing up. In retrospect, the bed was uncomfortable and impractical. However, she loved that it converted into a trundle and a couch. She has never slept well and often stayed up late reading, watching television, and practicing her handwriting in the daybed. She includes a tangential examination of the pop culture she consumed from the daybed, including watching and imitating episodes of RuPaul’s show.
Kennedy’s daybed was perfect for hosting sleepovers. She describes the difference between sleepovers and slumber parties. Sleepovers were more intimate affairs with closer friends and slumber parties were larger affairs where girls often slept on the floor (47). Kennedy usually hosted sleepovers with her close neighborhood friends Emily Hirah, Morgan, and Elise. Kennedy enjoyed slumber parties, but they were more complicated affairs. Sometimes, she and her friends watched PG-13 movies, played pranks on each other, or snuck into friends’ families’ second refrigerators. She describes the differences between various friends’ homes and how their houses represented their socioeconomic circumstances (52). She also describes the different games she and her friends would play, including more superstitious rituals, clapping games, and storytelling. These were formative experiences for Kennedy, and she misses the opportunities that such gatherings created for female friendship and bonding. She still has many of the same friends, but they spend their time differently now. However, she’s still grateful for the memories they made.
Kennedy got her first AOL screen name when she was 10 years old. AIM introduced her to the world of the internet and gave her a way to connect with people in new ways. Instagram, Facebook, and TikTok didn’t exist yet, and being online was a novelty. Choosing the right screen name was one of the first challenges of the experience. Talking on AIM also created social situations where friends would try to impersonate each other. Away messages added another complication to Kennedy’s first online experience. She often tried to pretend that she was busy or interesting by choosing the right sort of screen name. At one point, she even tried to secure “a vacation boyfriend” to convince friends she was talking to someone who was older but didn’t live nearby (68).
Kennedy considers how these dynamics influenced her sense of self as she grew up. In some ways, AIM was negative and distracted her. However, it also gave her a safe space to play with language and to communicate in the best way she knew how: using word games and humor. On several occasions, she developed AIM friendships with boys she couldn’t talk to in school. Sometimes this made her feel insecure, but it also introduced her to her interest in social media and technology. She likes communicating through screens and online forums to this day. However, she also had to learn to balance online and in-person relationships.
Kennedy has always loved pop culture but has often been criticized for it. She has always wanted a sense of meaning and purpose, but sometimes this desire conflicts with her love for cultural trends. When she was growing up, she became involved in various Christian churches and youth groups. She argues that this culture was particularly prevalent during the nineties (83). In these settings, Kennedy learned that she was supposed to save herself for her future husband. She was supposed to be quiet and pure and wasn’t supposed to think about boys or sex. In an aside, she explains that these ideas originated from the True Love Waits movement started by the Southern Baptist Convention (86). The movement prioritized virginity and celibacy, particularly for young girls. Soon, pop stars began wearing purity rings and supporting these ideals. Kennedy tried to do the same and remembers with embarrassment the way she criticized her peers when she heard about their normal sexual experiences. She also notes that the movement impacted school dress codes and sex education classes. She wishes more precedence had been put on consent, safety, and healthy exploration.
Over time, Kennedy learned to feel increasingly guilty and ashamed. She was taught that she was sinful and broken and didn’t know how to please a God who she was told to fear. She considers how the God she was taught about is similar to the male figures in a patriarchal society, including leaders and husbands. Although she eventually distanced herself from the church, these ideas continued to impact her throughout her adolescence and adulthood. She has struggled to feel worthy of others’ love and was confused about her sexual desire and body. She has since tried to embrace freedom, pride, and self-empowerment and to create a new church and belief system that she believes in.
The first four essays in the collection use humor and personal anecdotes to explore the intersection between pop culture and self-discovery. Throughout these essays, Kennedy contextualizes her expansive cultural examinations within her childhood and young adult experiences. In “Limited To,” for example, she analyzes how her love for Barbie, Limited Too, and American Girl affected how she understood herself as a young girl. In “Back in the Daybed,” she explores the ways in which her sleepover and slumber party experiences affected her understanding of female friendship and connection. In “You’ve Got Male,” Kennedy questions how her first online experiences dictated her self-worth and self-definition. In “God Must’ve Spent a Little Less Time on Me,” she considers how her understanding of sex, desire, and sexuality was influenced by “nineties and aughts Christian-youth-group culture” (83). Each essay tackles a significant cultural moment from the millennial generation’s coming of age. Kennedy makes these complex and often polarizing issues accessible and non-threatening using anecdotes from her own life growing up in Virginia.
In Essays 1-4, Kennedy’s consistently forthcoming and confessional, playful and witty authorial tone deescalates her potentially inflammatory sociopolitical and socioeconomic topics of discussion. In “Limited To,” for example, Kennedy toys with the meaning of the brand name Limited Too in order to consider how the company affected young girls’ senses of self, purpose, meaning, and beauty, speaking to The Influence of Media and Culture on Women’s Identities. While Kennedy confesses that she “found a sense of home at the mall, likely under a sign in Limited Too that said something like IT’S A GIRL’S WORLD,” she also analyzes the potentially harmful impact of the company’s ethos on young girls’ impressionable minds and hearts (29). She argues that like Mattel’s Teen Talk Barbie, Limited Too in fact limited who a girl could be, what she could say, and therefore how she could express her developing identity. The mall culture era taught girls like Kennedy that all girls “must love to shop,” just as Mattel taught girls that all girls must hate math class and be most interested in boys, lifeguarding, and planning the perfect dream wedding (33). Kennedy considers these complex social and gender issues using her characteristic lighthearted tone. She incorporates questions throughout, which enact her desire to understand her experiences and how her cultural upbringing impacted her psychologically. Meanwhile, she also makes overt jokes about the brands, games, and toys she admits to having loved. In the American Girl passages, for example, she remarks that she isn’t sure she “would’ve gone for the matching rabbit-fur muff and hat” a la the Samantha doll, “but go off, queen” (38). Kennedy is poking fun at the brand, at the doll, and at herself. She is incorporating contemporary vernacular in order to humanize her voice and perspective, and to render her more sensitive cultural examinations in a humorous manner. Balancing these tonal registers complicates Kennedy’s overarching commentary, a stylistic technique that she maintains throughout all four of Part 1’s essays. Her humor and wit are meant to entertain and delight, and to soften the surrounding interrogation of social trends.
Kennedy employs similar formal and rhetorical techniques in her examinations of sleepover, the internet, and Christian youth culture, thematically incorporating Self-Discovery and Personal Growth in the Modern World. Throughout Essays 2, 3, and 4, she continues to incorporate anecdotes into her more interrogative discussions. She is therefore abiding by the literary principle that the universal is found in the particular. By particularizing her conceptual discussions within her own experience, she is again inviting the reader into her memories and asking her reader to relive her childhood with her. In “Back in the Daybed,” for example, Kennedy again employs a confessional tone when she says, “I’m not proud of this, but I had the most fun at the following types of households when sleeping over. The kids whose families had: 1. minimal parental supervision, or 2. what I like to call F.U. second-fridge money” (49). Kennedy uses conversational diction and specific imagery to craft the world of her childhood. Doing so grounds her more philosophical and esoteric discussions in real live events from her past. She strikes the same balance in “You’ve Got Male” and “God Must’ve Spent a Little Less Time on Me,” both of which interrogate gender politics in the context of a patriarchal society. These distinct stylistic approaches allow Kennedy to explore the ways in which the media, technology, and cultural trends of the millennial era actively dictated how she saw herself as a young girl and how her social context continues to impact her psychologically.
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