Tag Archives: Beauty Standards

This Blog Is 10 Years Old & Beauty Has Become So Much More Beautiful

30 Jan

Welcome to sunny side! was one of the messages I received last month on my 40th birthday. I have indeed felt a glow about the whole thing. With 40 years under my belt, I’ve decided—and tell everyone I meet—that I now know everything. Joking aside, I began Painting On Scars 10 years ago this month and I know—down to the very core of my being—that so many things have gotten so much better in the last decade. Yes, some things have become horrifically worse. We’re entering the third year of an indisputably wretched pandemic, and my country of origin has been sliding down the list of robust democracies, and the partisan divide President Obama sought to overcome way back when has deepened and become more vicious no matter whom you ask. (More on that some day soon.) But Peter Dinklage is starring in his wife’s version of Cyrano, which hit theaters in the U.S. yesterday, and the way the media has responded is one of the many reasons I’m happy to be alive right now.

I’ve spent a lot of my life wondering how certain human rights movements took off when they did. The way our history books in school taught it, the Civil Rights movement was a burst of anger marking the end of the placid 1950s, brought on by certain great men like Dr. King who just suddenly got the idea to end Jim Crow. We never learned about all the activists fighting to ban lynching long before Dr. King or the family of Emmett Till, and we never learned how the Nuremberg Trials and Holocaust studies facilitated conversations about racism. Minority rights’ movements always seemed to come of out nowhere, led by great individuals. Lessons in school easily led us to believe that before Frederick Douglass, Susan B. Anthony or Harvey Milk, no one had ever heard of equality for Black, female or gay citizens.

It wasn’t until the social justice movements that we’re observing now—the New Left, the wokeness or whatever you want to call it—that I really understood how a movement breaks into the mainstream from the margins. It begins in activist circles and, with success, the circles begin to expand until one day you realize those high school friends who rolled their eyes at any talk of gay rights are putting up marriage equality logos on their social media accounts. Many in the mainstream feel that all this talk about trans rights and genderqueer rights, Black Lives Matter and #MeToo has been sudden, and they are not entirely wrong. The farther you are from the margins, the less likely you are to have heard the conversations that have been going on there for so long.

When I began Painting On Scars in 2012, Peter Dinklage won his first Emmy award for his role on Game of Thrones and at the ceremonies he made a brilliantly crafted plea to end dwarf-tossing. Mainstream media sources reporting on it implied via tone that the right to have one’s bodily safety and autonomy respected was not too much for men “suffering” from dwarfism to ask. But no mainstream journalist dared name any people or systems that had allowed dwarf-tossing to be seen as nothing more than a joke – like, for example, the bars that ran dwarf-tossing events, the politician who tried to remove a Florida ban to “stimulate the economy” or the creators of the hugely successful Lord of the Rings films. Dinklage was hailed as one of the best things about Game of Thrones, his alma mater invited him to give the commencement address, and Rolling Stone declared him a “Sexy Beast.” But his success was handled as an individual case. The argument that Hollywood should expand leading roles beyond its awfully short list of acceptable body colors, sizes and shapes remained at the margins. In the mainstream, it was at best acknowledged as a quaint pipe dream. Now Dinklage is on the media circuit for Cyrano and journalists are rolling their eyes with him at such passé limitations of imagination. What a difference a decade makes.

In 2012, debates about the lack of casting opportunities for actors of color and with disabilities were happening on places like feministing.com and The Patt Morrison Show. (Ever heard of it?) Not the Sunday Times. Leading men were overwhelmingly white, non-disabled and very, very, VERY not feminine. Flash forward to today and Timothée Chalamet has been hailed on both sides of the Atlantic as a sex symbol, the male actor of his generation and, repeatedly, a softboi – one of many men enjoying mainstream success who feel as free as women to be masculine or feminine or a nuanced version of both. Or neither. In 2012, Eddie Izzard was the only male known around the world for wearing dresses and makeup unironically. In 2012, few would have believed an out and proud rapper could flourish outside the queer community let alone top the charts, as Lil Nas X has. In 2012, no one in the U.S. could name a transgender celebrity of any considerable renown. It would have been all too easy to imagine the producers of normcore Jeopardy! declining the application of a transgender woman on the grounds that such a contestant would be, you know, distracting. This week, Amy Schneider ended her winning streak on Jeopardy!, the second longest in the show’s 56-year-history. When she was recognized in the stands at a Warriors game, she received an ovation from the crowd. You know something’s shifted in the mainstream when basketball fans hail you as a hometown hero.

The growth in acceptance of so many different minorities signifies a broader awareness of intersectional social justice – the understanding of how different minority issues overlap. As Peter Dinklage recently told the Times, “The idea of a leading actor is changing now. Whether racially or whatever. It’s about time. We’ve been stuck with this stereotype of a leading man and it’s healthy to open that up. Love life is not the domain of pretty people – everybody has a love life.” Pretty has gotten so much prettier.

We can’t let this movement turn out to have been just a moment. And reducing bias and hate in the mainstream should never be mistaken for eradication. In 2012, five years before #MeToo, blatant sexual harassment and assault in the workplace were considered to be little more than shocking scenes seen on Mad Men, there to show how much had changed. HR departments and the women’s movement were thought to have made enough strides to render harassment the problem of just a few bad apples. Your willingness to believe a politician’s accusers fell heavily along party lines. And we were convinced of this as men like Harvey Weinstein were not only breaking into womens’ rooms at night, but doing so as his coworkers rolled their eyes and sighed, “Oh, that’s just Harvey.”

For all my pleasure at Peter Dinklage’s star treatment this month, the risk remains that he will be an anomaly among dwarf artists rather than a trailblazer. No other person with dwarfism has reached anywhere near his level of international renown in the decade since his first Emmy win. Marlee Matlin’s success in the 80s and 90s was followed by little else for the Deaf community. This fall’s acclaimed crime series Only Murders in the Building broke new ground by featuring an entire episode in American Sign Language led by a Deaf supporting character. That episode was excellent and its moment of upfront, vicious ableism made my heart jump into my throat because it rang so true. But could an entire series with a physically disabled leading man attract so much acclaim? Could it survive beyond one season, or remain a gimmick? How about several series starring disabled actors?

We can’t ever allow the comfort of success for marginalized minorities to devolve into complacency. 100 years ago, my beloved city of Berlin showed that mainstream tolerance of queer and intersex citizens could rapidly erode into tolerance for those who sent them to death camps. Explicit hate and danger remain very real threats today. And there are still far too many well-meaning but harmful assumptions left in the world to consider it equally safe and welcoming to all. For all of Dinklage’s applause for the new opportunities we’re witnessing in Hollywood, he had nothing good to say this week about the latest news of Disney’s live-action remake of Snow White and the Seven Dwarfs:

They were very proud to cast a Latina actress as Snow White… Take a step back and look at what you’re doing there. It makes no sense to me. You’re progressive in one way and you’re still making that f***ing backward story about seven dwarfs living in a cave together? What the f*** are you doing, man? Have I done nothing to advance the cause from my soap box? I guess I’m not loud enough. I don’t know which studio that is but they were so proud of it. All love and respect to the actress and all the people who thought they were doing the right thing. But I’m just like, what are you doing? … If you tell the story of Snow White with the most f***ed up, progressive spin on it? Then, yeah, let’s do it. 

Disney claims to be “consulting” the dwarf community in order to portray the seven men as respectfully as possible. In the vein of Dinklage’s suggestion for a truly progressive spin on the story, I think Disney should take inspiration from the several living room productions of Snow White I roped my friends and cousins into that starred yours truly. What could be more radical than to have Snow White—the young woman considered so extraordinarily beautiful by the queen she needed to be killed—portrayed by someone with dwarfism? Kids of any body type, gender or skin color who have loved the fairy tale for its drama should be able to grow up to play the star. But do we think the public’s imagination could go quite that far? Are we there yet? If not, what will it take?

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Here’s Hoping You’ll Be Hearing about Ali Stroker From More Than Just Me

1 Aug

Perhaps the worst thing about the arts—at the least the performing arts—is how they’ve ended up as the most powerful perpetuator of lookism around the world. From colorism to ableism to fat-shaming, mass media bears a remarkable responsibility for ignoring diverse beauty standards and marginalizing various body types. But the best thing about the arts is the way they dodge objectivity, remaining open to reinterpretation forever and ever.

When you hear “I’m Just A Girl That Can’t Say No” sung by a waif, it sounds like the mid-century acceptance of sexiness in women as long they stay coquettish – that is to say, naïve. When it’s sung by a strong-voiced but conventionally attractive woman, it becomes the anthem of the whore – a classic character whom tradition keeps in high demand but never in high regard. And when it’s sung by a woman in a wheelchair—who is the first actor in a wheelchair ever to make it to Broadway—it’s nothing but empowerment, a sonorous TAKE THAT! to our traditions that automatically deem physically disabled women off the dating market while behind the scenes rendering them seven times more like to be sexually abused in the United States than the general population.

When I read Ali Stroker had become the first actor using wheelchair on a Broadway stage in 2015’s Spring Awakening, my first reaction was, “Wait, what?” The very first full-length musical I attended was a production of Guys and Dolls at my local high school, with a classmate’s brother in the lead as Sky Masterson. He used a wheelchair—I cannot say if it was temporarily or permanently—and the image was presented so matter-of-factly that it imbued in me a deep-seated sense of “Well, why not?” When it comes to possibilities, seeing is believing. But visions can be deceiving and I was deceived into assuming this sort of thing happened all the time. It did not. In 2019, Stroker became the first actor with a physical disability to win a Tony in Daniel Fish’s dark revival of Oklahoma! (This highly acclaimed version originated at Bard College, my alma mater.)

Stroker has spoken at length about what equal opportunity and accessibility in acting truly means. She’s called out Hollywood and Broadway’s addiction to choosing only non-disabled actors to portray disabled characters like Franklin Roosevelt and Helen Keller, likening it to blackface. This week she spoke with the ACLU about the importance of integrating her disability and her wheelchair into any character she portrays without the need for explaining the disability.

I highlight this now because Broadway is about to re-open for the first time since the pandemic and because the worst thing we could do after her achievements is to let Stroker become a one-hit wonder and remain a novelty. Marlee Matlin made history in film and television as the first widely known Deaf actor in the 1980s and 90s, and Google reveals she continues to be the only one of such renown.

Of course, long-lasting change has to be structural. As both Stroker and Anthony Ramos of Hamilton have pointed out, people long marginalized in the arts must be represented not only on the stage but in the writers’ rooms and board rooms if the power imbalance is ever to be corrected and career opportunities for all are to be really, truly equal. That’s why I hope you continue to hear about Ali Stroker and many, many other physically disabled actors until the distinction no longer matters because there are too many to count.

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“Sometimes It’s Better to Deal with a Terminal Illness Than to Live with a Dwarf for the Rest of Your Life”

19 Mar

body(Image by Anthony Easton used under CC 2.0 via)

 

A Sydney woman has been declared fit to stand trial after being charged with murder for the 2010 death of her infant daughter. The judge has concluded that before the child died, the mother was “obsessed with perfection,” and was panicked that her daughter had achondroplasia, the most common type of dwarfism. She insisted that skin tags, a flat nose, and the shape of the baby’s forehead were proof of the condition, and subjected her to rigorous x-rays and genetic tests, which all came back negative. The Sydney Morning Herald reports: “When one friend got ‘fed up’ and told her she wasn’t dealing with something like cancer, the mother replied: ‘Sometimes it’s better to deal with a terminal illness than to live with a dwarf for the rest of your life.’ ”

That her daughter did not have achondroplasia is wholly irrelevant. Neglecting or harming a child on the basis of a bodily deformity she did or did not have is tragic no matter how you cut it. It sends two extra shivers down my back stemming from the fact that I have achondroplasia and would have a 50% chance of passing achondroplasia on to any children I were to have biologically. In several previous articles, I’ve examined the complicated issue of children with rare conditions and parents who lack the skills to give them the support they deserve. I am equally preoccupied with what it means for the child and what it means for the parent.

I’m not interested, however, in judging the accused woman personally because we can draw few accurate conclusions from the reports of her case. Many will argue that her schizophrenic disorder was the sole catalyst of her actions, while many experts on mental illness have tried to convince the hard-to-convince public that having schizophrenia does not make someone more likely to commit murder or manslaughter, and bigotry against achondroplasia is certainly not a symptom of the illness. Schizophrenic disorders are complex, and armchair diagnosis is a dangerous game far too many of us like to play. The temptation is best left resisted.

But it is safe to say that the likelihood of incidents like these would dramatically decline if our society saw nothing wrong with looking like a dwarf. Humans have a long history of parents abandoning or murdering deformed or disabled children. It goes as far back as Ancient Sparta and was codified into law here in Germany under the Nazi regime. And even in cultures where disabled or deformed citizens have generally not had to fear a death sentence, being humiliated or abandoned for having a certain body type is horrid enough. Firm belief in bodily hierarchy can be found in countless corners of modern society, from the glossy pages of lifestyle magazines, to Nobel Prize winner James Watson’s lectures on inherent attractiveness, to capitalist icon Ayn Rand’s arguments about who should be considered subnormal. 

Yet while the long history of ableism and lookism may be a daunting fact, it is also a fact that fashion is constantly in flux. Humanity’s habit of relentlessly coming up with new ideas for how bodies should look is a cause for hope. Not because a woman with achondroplasia winning a beauty pageant could ensure our universal acceptance once and for all. It couldn’t. But by understanding how utterly diverse beauty standards, athletic standards, and intelligence standards really are throughout time and space, and by facing the very real dangers of xenophobia in extremis like the horror in Sydney, we should be able to agree that we’re all better off never being “obsessed with perfection” when it comes to bodies.

 

 

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On Catcalls, Body Types & Lasting Love

25 Sep

My latest article, “Disabling the Male Gaze: ‘Longing’ to Be Objectified Won’t Shatter Narrow Beauty Standards” is featured this weekend at Salon. It’s a rebuttal to a recent piece in The New York Times ongoing series on Disability.

 

 

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And If Someone Thinks You’re Plus-Size, Then What?

10 Apr

Untitled(Image by Daniela Goulart used under CC license 2.0 via)

 

The tiff between comedienne Amy Schumer and Glamour magazine this week has reached the media coverage level of Big Deal. In an issue featuring plus-size models on its cover, Glamour listed Schumer under “Inspiring Women We Admire” alongside Melissa McCarthy and Adele. Schumer took to Twitter to complain:

I think there’s nothing wrong with being plus size. Beautiful healthy women. Plus size is considered size 16 in America. I go between a size 6 and an 8. @glamourmag put me in their plus size only issue without asking or letting me know and it doesn’t feel right to me. Young girls seeing my body type thinking that is plus size? What are your thoughts? Mine are not cool glamour not glamourous.

The Glamour editors apologized for hurt feelings, while emphasizing their respect for Schumer and that they didn’t actually mean to suggest she is plus-size.

The public has divided in two, with Schumer’s supporters claiming she has helped to question not only the definition but the very idea of “plus-size.” After all, as the children’s book You Are (Not) Small shows, size is relative. “Plus size” is, to be sure, an utterly made-up idea, necessary to absolutely no one on earth.

The other faction has criticized Schumer’s seemingly contradictory praise for plus-size models in the same breath that she insists she doesn’t belong with them. While I am not interested coming to any conclusions about Amy Schumer’s true personality and values, her actions thusfar represent an all too common problem in the body positive movement. The problem leaves women who larger than a size 6 or 8 to fend for themselves not only against the hideousness of lookism in general, but against the implication that their smaller sisters are all quietly consoling themselves with the mantra, “At least I don’t look like that!”

Spend decades working to pick apart body image and lookism, and you’ve heard this all before. A woman—usually a woman—is an out and proud feminist, ready to rar about restrictive beauty standards while cracking jokes about her curves, but she cannot and will not stand anything less than compliments on her looks from others. In some cases, she goes fishing for compliments as much if not more than your average beauty pageant queen:

“I’m not short!”

“He called me ‘Ma’am!’ I’m not old!”

“The test rated me as obese. I’m not obese! Obese is…”

Instead of questioning what’s wrong with being old, she rages against the implication that she is. Instead of questioning what exactly would be so wrong with strangers not liking her looks, she argues that they would in a just world.

The reason so many of us end up doing this is because we like to be thought of as confident, yet we behave based on fear. We fear being called ugly, we fear not having broad appeal, and we do nothing to confront those fears. We talk openly about them. And stop there. And in doing so, we spread them.

We don’t face up to the fact that “winning” the beauty pageant game by having fashionable looks is no guarantee of lasting love or happiness. Instead, we keep on envying the winners and ever so quietly echoing the Mean Girls we met in high school: It is very important that most people think you are attractive. Beauty contests matter. Hierarchies matter, at least a little. No one wants to be last. You need someone to look down on in order to build yourself up. That’s natural. It’s a mess of a message to women and men, young and old alike. And it helps no one.

Sometimes it helps to switch from the high school mindset to an even less mature one. Spend a lot of time around pre-school children, and you know you can’t control what they notice:

“I think you’re pregnant!”

“Your skin’s all wrinkly!”

“Why are you so short?”

“Why do you walk so funny?”

“This hair is gray!”

“What’s that stripe on your arm?”

“What are those dots on your face?”

“Twenty-two is old!”

Pre-school teachers will fail—let alone make it through their first week— if they let such comments get to them. The best response, of course, is to engage the child and together examine the bodily feature they want to understand. If you don’t have the energy for a teaching moment, however, you simply shrug it off. Or say, “I am short/scarred/disabled because that’s just how my body looks. I like it that way.”

And if you want them to believe that—or anyone to believe that—then it helps if you believe it, too.

 

 

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Cultural Appropriation vs. Cultural Exchange

25 Oct

(Via)

From the Archives

 

As Halloween approaches along with all the stomach-turning caricatures of minorities and foreigners, I find myself repeating the same question over and over: When is it okay to wear or adopt something from a culture you don’t belong to?

Obviously, the most offensive appropriations rely on inane stereotypes most people I know would never go near. But this doesn’t mean that globe-trotting, multicultural enthusiasts—like myself—can do no wrong.  Since the 1960s, upper/middle class whites dabbling in other cultures has been celebrated under the banner of “Diversity!”  But from the point of view of certain cultures, Nigerian writer Jarune Uwujaren argues, it’s often just another chapter in the long tradition of Westerners “pressing their own culture onto others and taking what they want in return.”  American Indians do not appreciate headdresses used as fashion statements.  Hindus do not applaud non-Hindus flaunting bindis.  And Mexicans don’t enjoy seeing Day of the Dead re-appropriated as just another Halloween costume. 

Yet the Mexican Día de los Muertos is the result of Catholics adopting what was originally a pre-Columbian tradition.  Modern German children meanwhile have taken to celebrating Halloween, much to their parents’ chagrin.  There isn’t a holiday on earth that hasn’t been adapted from something else, leading atheist comedian Mitch Benn to observe, “If only practicing Christians can celebrate Christmas, then only Vikings can say, ‘Thursday.’ ” 

Indeed, intercultural contact always leads to intercultural mixing. Nowadays brides in China often wear two wedding dresses on their big day: a traditional Chinese red dress and a traditional Western white gown.  When a friend from Chengdu married her German husband in Berlin, she turned this trend on its head, wearing a Western designer dress that was red and then a cheongsam that was white.  Borders move and cultures blend constantly throughout history, often blurring the line between cultural appropriation and cultural exchange.

For this reason, it is important to remember that absorbing the fashions and customs of another culture is not always offensive.  But it is just as important to remember that it is not always open-minded, either.  After all, colonial history is rife with Westerners who filled their homes with foreign gear and lectured others about the noble savage.  Among the most ardent fans of Tibetan Buddhism, American Indian animism, and Norse mythology were the Nazis.  

We all love to show off what we’ve learned and delving into another culture can be enriching. But minorities tend not to like it when an outsider appoints herself an expert and lectures more than she listens.  Or thinks that listening to minorities is a heroic act, rather than common courtesy.  Visiting another country feels special when we’re the first of our friends and family to go, but there is no guarantee we’ll truly be acquainted with the culture.  Thanks to language barriers and the insular nature of expat bubbles and tourist tracks, it is fairly easy to study or even live in another culture for several years without getting to know a single person from that culture.  (Waiters and receptionists don’t count.)  

Whether venturing to the other side of the world or the other side of the tracks, it is always much easier to buy something, taste something, or get a bit of history from a book than to talk to someone from another culture.  Because books and merchandise can’t talk back.  They won’t call us out if we make false assumptions.  If we do actually strike up a conversation with someone from another ethnic group, whether Liverpudlian or Laotian, the temptation to flaunt the experience like a feat of greatness can be overwhelming. Jarune Uwujaren wrote about this pervasive temptation last month:

I remember that at my sister’s wedding, the groom – who happened to be white – changed midway through the ceremony along with my sister into modern, but fairly traditional, Nigerian clothes.

Even though some family members found it amusing, there was never any undertone of the clothes being treated as a costume or “experience” for a white person to enjoy for a little bit and discard later. He was invited – both as a new family member and a guest – to engage our culture in this way.

If he had been obnoxious about it – treated it as exotic or weird or pretended he now understood what it means to be Nigerian and refused to wear Western clothes ever again – the experience would have been more appropriative.

But instead, he wore them from a place of respect.

Appreciating the beauty in other cultures is always preferable to xenophobia.  Enjoying a trip abroad that happened to involve minimal interaction with the locals is perfectly fine.  But drawing attention to oneself for reveling in the mysteriousness of a culture is to revel in its supposed Otherness.  Whenever an entire culture is reduced to its exoticism, it becomes nothing more than an accessory or a toy – not a sign of cultural understanding.  

And while adopting a sacred custom “just because it looks cool” can be inconsiderate, imbuing our reasons for adopting a trinket with too much meaning can also make a native roll their eyes.  It’s one thing to buy a handbag on a trip to Tokyo simply because it’s beautiful.  A Japanese woman is buying it simply because it’s beautiful, after all.  But it’s another thing to flaunt it like a badge of enlightenment. 

The blog Hanzi Smatter documents and explains the snafus and utter nonsense that so often result when Westerners get tattoos of Chinese characters copied off the Internet.  Such incidents demonstrate that vanity is often mistaken for art.  We’re all a little vain, yet the difference between art and vanity is crucial because vanity is an indulgence, not a challenge or an attempt to communicate.  When Dita von Teese donned yellowface for a London performance titled “Opium Den,” fellow burlesque artist Shanghai Pearl wrote:

I am not saying artists should not tackle controversial or challenging subjects. However, if we choose to take on challenging material, we should be prepared to have challenging conversations. I absolutely believe that art will not suffer from sensitivity. Sensitivity should make us work harder, research more, and think more. Art can only benefit from that.

Indeed, nothing suffers from genuine sensitivity.  The lesson from colonialism is not to stop exploring the world and reading about it, but to always bear in mind that there can be no cultural understanding without dialogue.  When deciding whether to adopt a tradition or style from another culture, we should consider what several people from that culture have to say about it.  Because there are no cultures without people.

 

 

Originally posted November 3, 2013

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Curiosity Kills the Rat

19 Oct

From the Archives

 

“All the freaky people make the beauty of the world.”

— Michael Franti

Fourteen years ago, I made a trip to Hot Topic—that quintessential 90s chain store for all things goth—in search of some fishnet stockings for a friend.  It was my first visit to the store since I was back in a wheelchair for my third and final limb-lengthening procedure and the narrow aisles prevented me from venturing beyond the entrance.  My first time in a wheelchair, from ages 11 to 12, had been a completely humbling experience as I was forced to see how very inaccessible the world is for the non-ambulatory.  This time around I was battling the hot-cheeked self-consciousness that adolescence attaches to any signs of dependency. 

As I tried to look casual while flipping through black gloves, black stockings, and black dog collars, a guy approached me sporting crimson hair, eyebrow rings, an employee badge and a smile.  “This is store is easily adjustable,” he grinned, and with that he began shoving aside the display cases and clothes racks—which were, like me, on wheels—clearing a path for me right through to the back and taking little notice of the other shoppers, some of  whom took one to the shoulder.  It was one of those crushes that disappear as quickly as they develop but leave a lasting memory: my knight in shining jewelry.

Thanks to experiences like this, I have a special place in my heart for the acceptance of physical differences that can often be found in the subcultures of punks, hippies, and goths.  From the imagining of monsters to the examination of anything taboo, counter-culture is often unfazed by physical qualities that fall outside of mainstream beauty standards.  The first kid in my high school who chose not to stare at the external fixators on my arms but instead held the door for me had green and purple hair.  About a month after my trip to Hot Topic, I showed a death-metal-loving friend my right fixator (shown above) for the first time, with the six titanium pins protruding from open wounds in my thigh.  He grinned, “That is the ultimate piercing, man!”  He hardly could have come up with a more pleasing reaction.  That my wounds were cool instead of “icky” or “pitiful” was a refreshing attitude found almost exclusively outside mainstream culture.  This attitude more readily understands my belief that my scars are merit badges I earned, not deformities to erase. 

However, this tendency toward decency over discomfort is just one side of the alternative coin.  Every subculture has its strengths and its weaknesses, and for all the freaky heroes I’ve encountered, I’ve also met plenty whose celebration of difference devolves into a sick fascination with the grotesque.  “Weird for the sake of weird” is progressive when it asserts that weird is inescapable, that it is in fact as much a part of the natural order as any of our conventions, and when it serves as therapy for the marginalized.  But it is problematic when it involves self-proclaimed artists using others’ reality as their own personal toys.     

In a previous post, I referred to a friend of friend including me in an Internet discussion about limb-lengthening.  His comments were in reaction to a photo of a leg wearing an Ilizarov fixator that had been posted on a Tumblr page focused on the “wonders of the world.”  There are countless sites like it, where photos of conjoined twins, heterochromatic eyes, intersexual bodies, and medical procedures are posted alongside images of animals, vampires, robots, cosplay, self-harm, manga and bad poetry.  I get it.  The world is “crazy” and it’s all art.  But if that’s not a freak show, what is? 

Disabled people are no longer put behind glass or in the circus—at least not in the U.S., Canada or Western Europe—but many people still believe they reserve the right to stare, both in public and on the Internet.  Whether under the guise of promoting diversity or admiring triumph in the face of adversity, they suppress any realization they may have that no one likes being stared at.  Unless it’s on our terms.  

I see endless art in my medical experiences and it can be so therapeutic.  During my first limb-lengthening procedure I also had braces on my teeth, leading my dad to observe, “She’s now 95% metal.”  Kinda cool.  During my third procedure, I had Botox injected into my hips twice to paralyze my muscles lest they resist the lengthening.  At the time, when I along with most people had no idea what it was, it was described to me as “basically the most deadly poison known to man.”  Whoa, hardcore.  When I happened upon photos of my anterior tibialis tendon graft surgery, I was enthralled: “I’m so red inside!”  And when a fellow patient recently alerted me to the fact that a high-end jeweler designed a bracelet strongly resembling the Ilizarov frame, I laughed my head off.  Almost all of us like looking at our bodies, and perhaps this is especially so for those of us who have had real scares over our health.  It’s a matter of facing our fears and owning it.  But no one likes the idea of others owning it.  This subtle but severe preference, this desire for dignity determines the difference between human rights and property rights. 

Two years ago, NPR featured a piece by Ben Mattlin, who is non-ambulatory and who said he used to be uncomfortable with the idea of Halloween and its objectification of the grotesque.  From my very first costume as a mouse to my most recent stint as the Wicked Witch of the West, my love of Halloween has not so much as once flickered, but his point is worth discussing.  Costume play, Halloween and any celebration of “weird” that is primarily attention-seeking inherently assumes there is a “natural” basis to be disrupted.  (And all too often Halloween devolves into offensive imitations of all sorts of minority identities.) 

I have my own collection of artsy photos stolen off the Internet that I use as screensavers and montages for parties, but they do not include photos of bodies taken outside the context of consensual artistic expression.  Re-appropriating a photo in a medical journal for a site about all things bizarre is protected under freedom of speech, but it can feel like disregard for consent.  And in any case, such xenocentrism will always be just as superficial as the status quo it seeks to disrupt.

When conjoined twins Abigail and Brittany Hensel agreed to be interviewed once—and only once—for a documentary about their lives (which I highly recommend), they explained that they don’t mind answering strangers’ questions at all.  (Ben Mattlin has said the same, as do I.)  What they hate more than anything is being photographed or filmed without permission.  While attending a baseball game outside their hometown, a sports film crew quickly directed their attention to the girls.  Even though they were already being filmed by their own documentary team, the stranger camera’s invasive, presumptuous stare ruined the day for them. 

Sensitivity toward others’ experience with medicine and death should never kill the discussion.  These discussions are imperative and art is the most glorious way we relate to one another.  But just as there’s more to good manners than simply saying “Please,” there’s more to genuine learning and artistic expression than poking at anything we can get our hands on.  Nuance, deference and respect are prerequisites for anyone with artistic or scientific integrity not only because they are the building-blocks of common decency, but because history has shown that curiosity will more likely harm the rat than the cat.

 

 

Originally posted May 19, 2012

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Who Should Think You’re Beautiful?

11 Oct

Goodnight(Image by Aphrodite used under CC 2.0 via)

From the Archives

 

Should beauty pageants stay or go?  The New York Times tackled this question during the 87th Miss America Pageant.  Amidst all the discussions about deferential giggles and zombie smiles, I find myself echoing the conventional wisdom that Let’s face it, it’s all about the swimsuit round, and Caitlin Moran’s wisdom that You can call it the ‘swimsuit round’ all you like, but it’s really the bra and panties round.

A decade ago Little People of America entertained the idea of holding an annual beauty pageant, but it was swiftly nixed by the vast majority of members.  The inherent problems were pretty obvious: Isn’t being judged by our looks the biggest problem dwarfs face?  Do we really want to set a standard for dwarf beauty?  And if so, which diagnosis gets to be the standard?  Achondroplasia or SED congenita?  Skeletal dysplasias or growth hormone deficiencies?  Ironically—or perhaps not—there was also a widespread fear that heightism would dominate the judging.

What I find most unsettling about beauty pageants is not the nondescript personality types on display—although I am very concerned about that, too—but the idea that it is perfectly normal and okay to want millions of strangers to love your looks above all else. This idea seeps into every corner of Western culture, not just beauty pageants and women’s magazines. 

If you’ve ever entered “body image” into a search engine, it won’t take you long to come across the phrase You’re beautiful!  It’s everywhere, and it’s usually geared at anyone, particularly anyone female, who believes they fall short of the beauty pageant prototype.  You’re beautiful! is part battle cry, part mantra – a meek attempt to broaden society’s beauty standards and an earnest attempt to bolster individual self-confidence.  Super-imposed over flowers and rain clouds and sunsets and cupped hands, it becomes hard to tell the online empowerment apart from the online valentines. And as much as I admire the intentions behind it, I’m tempted to question it. 

Making peace with our bodies is important.  Diversifying our criteria for human beauty is necessary.  But why should we need to hear that we’re beautiful from someone we don’t know?  Of course we can never hear it enough from friends and lovers.  (I’ve heard it three times in the last 24 hours and I’m not giving it up for anything!)  But basing self-confidence in strangers’ praise upholds the notion that it is bad to be thought of as ugly or plain by people who don’t know anything else about you. 

We all have our secret fantasies about being gorgeous rock stars and princesses and Olympic heroes with throngs of admirers dying to throw their arms around us.  But, to echo Jane Devin, if most men can go through life with no one but their lovers daring to praise their looks, why do women still demand so much attention? 

This past spring Scientific American revealed that, despite how much our culture suggests that most of us need to hear over and over how attractive we are before we even begin to believe it, the average person overestimates their appearance.  This shouldn’t be too surprising. The world’s largest empire isn’t called “Facebook” for nothing.  And as the Scientific author pointed out, the vast majority of us consider ourselves to be above-average in most respects, which is statistically impossible.  He explains: 

If you think that self-enhancement biases exist in other people and they do not apply to you, you are not alone. Most people state that they are more likely than others to provide accurate self-assessments…

Why do we have positively enhanced self-views? The adaptive nature of self-enhancement might be the answer. Conveying the information that one has desirable characteristics is beneficial in a social environment…  Since in self-enhancement people truly believe that they have desirable characteristics, they can promote themselves without having to lie. Self-enhancement also boosts confidence. Researchers have shown that confidence plays a role in determining whom people choose as leaders and romantic partners. Confident people are believed more and their advice is more likely to be followed.

So self-confidence is good and self-doubt is bad, both in love and in life.  And demanding strangers and acquaintances tell us that we’re beautiful is narcissism, not self-confidence.  In the words of Lizzie Velásquez, who was voted Ugliest Girl in the World on YouTube, “I don’t let other people define me.”

This is not to suggest a ban on praising anyone’s looks ever.  I still harbor adolescent crushes on a pantheon of celebrities, from George Harrison to Harriet Beecher Stowe.  But between the beauty pageants and the You’re beautiful! memes, it does seem that most of us still believe that having broad appeal is some sort of an achievement, as opposed to dumb luck.  And that for a woman, it’s an achievement worthy of mention on a résumé. 

In April, President Obama touted newly appointed Kamala Harris as “by far the best-looking attorney general.”  After dealing the president a well-deserved eye-roll, Irin Carmon at Salon suggested that before publicly praising someone’s looks, we should ask ourselves: Is it appropriate to tell this person and/or everyone else that I want to sleep with them?   

It’s an excellent point, though crucial to add that seeing beauty in someone is not always rooted in lust.  Love for friends and family usually renders them absolutely adorable or heroically handsome.  Whenever I overhear someone say, “You’re beautiful!” it will always register as an expression either of desire or affection.  (Neither of which, Mr. President, are ever appropriate in a professional context.)  

Yet plenty of us still envy Kamala Harris a little.  And too many of us seem to think being conventionally attractive is truly important because it corresponds directly to being successful in love.  This is perhaps the most dangerous myth of all. 

If I hear the phrase, “She was out of my league!” one more time, I’m going to swat the sad sack who says it.  My dating history is nothing to brag about, but I can brag—shamelessly—about being a trusted confidante to dozens upon dozens of different people with all sorts of dating histories.  And after a few decades of listening to them spill their hearts out, I’ll let you in on a little secret: When it comes to love and lust, everyone is wracked with self-doubt. 

And I mean everyone.  The athletes, the models, the geeks, the fashionistas, the bookworms, the jet-setters, the intellectuals, the rebels, the leaders, the housewives, the musicians, the Zen Buddhists, the life of the party.  That girl who can’t walk through a club or the office without being propositioned.  That guy known as a heartbreaker because he can bed anyone he wants to and does so.  That stoic who doesn’t seem to care about anything.  That wallflower so set on navel-gazing that she thinks she’s the only one who’s lonely.  Every single one of them has fretted to me at 2 am, sometimes sobbing, sometimes whispering, sometimes hollering, always shaking: “Why doesn’t he/she love me?!” 

This isn’t to say that it all evens out completely and no one handles it better than anyone else.  Outside of abusive relationships, those who obsessively compare dating scorecards and create rules and leagues for turning sex into a competition are invariably the most miserable.  Some people date a lot because they’re popular, others because they have low standards.  Some marry early because they’re easy to know and like, others because they’re terrified of being alone.  Just being able to easily land a date or get laid has never made anyone I know eternally happy.  Narcissism and self-pity come from thinking it can. 

We’d all like to be the fairest of them all, but what we want more than anything is to be devastatingly attractive to whomever it is we’ve fallen in love with.  And because only those who genuinely know us can genuinely love us, any beauty they see in us comprises our style, our charisma, our perfections and imperfections.  It is the driving force behind all the world’s great works of art we wish we were the subject of.  And unlike beauty pageants or Google’s image search, true art is constantly redefining and questioning and promoting beauty all at once.   

I will always tell certain people how gorgeous they are because I can’t help but think that about those I’m awe of.  (And I guarantee that my friends are prettier than yours.)  But for those of you out there who might feel tempted to rebut the compliment with that age-old line, “You’re just saying that because you’re my [friend/partner/family]!” consider that a compliment motivated by true love is hardly a bad thing. 

And that being desired by someone who doesn’t love you at all can get really creepy.  Really fast. 

 

 

Originally posted September 15, 2013

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What Do You Think of When You See the Word “Healthy”?

6 Sep

Up close Star makeup mac, urban decay(Image by Courtney Rhodes used under CC 2.0 via)
 
In late 2013, journalist Katie Waldman examined the juicing trend, which was cropping up in the corners of Western society where there is a heavy focus on modern notions of “natural and organic” (think anywhere from Berlin’s Prenzlauer Berg to Burlington, Vermont and Berkeley, California) as well as in those where people competitively strive to follow the latest fashions in health and beauty (think the high-earning sectors of London, Manhattan or Los Angeles). Lifestyle writers have declared two years later that juicing has staying power, despite Waldman’s disturbing findings. Along with little to no evidence that cleansing the body with juice can be physically beneficial, she revealed that the language of most detox diets echoes the language used by those struggling with disordered eating – i.e., the idea that most of what the masses eat is on par with poison and you’re a bad person if you don’t purge it. She writes:

After days of googling, I still have no idea WTF a toxin is… Cleansing acolytes use the word toxin loosely, as a metaphor for our lapsed lifestyles…. The problem with this way of thinking is that food and weight are not matters of morality. Thin is not “good,” carbs are not “bad,” and in a world of actual pressing political and social ills, your dinner plate should not be the ground zero of your ethical renewal.

I’m neither a supporter nor an opponent of juicing in particular. Anyone should drink whatever they want to drink. But Waldman made a fantastic point about the way the upper and middle classes in the West so often believe one’s health to be a sign of one’s morality.

This idea is hardly new. The eugenics craze of the 19th and 20th centuries—that culminated with the Nazis exterminating “degenerates”—involved Fitter Families contests held at county fairs wherein judges handed out trophies to those deemed to have the best heritage, skin color, and tooth measurements. Professor Alan Levinovitz argues in Religion Dispatches that these attitudes have survived on into the present, altered only ever so slightly: “The sad thing is, it’s really easy to judge people on the basis of what they look like. We have this problem with race. In the same way, it’s really easy to look at someone who’s obese and say, ‘Oh look at that person, they’re not living as good a life as I am. They’re not as good on the inside because I can tell their outside isn’t good either.’ ”

Do we as a culture believe that being “healthy” is about appearance? Dieting often dictates that it’s about behaviors measurable through appearance. Psychologists agree to the extent that their notions of “healthy” are about behavior, but they also frequently intersect with notions of being “good.” But is being “healthy” about being brave, honest, generous and humble? Physicians would generally argue it’s about staving off death. Right-to-die advocates would argue it’s about quality of life over longevity. Is being healthy a matter of what scientists decide? Ed Cara found earlier this year that weight loss does not lead to happiness. Is happiness a measure of being healthy? Or are you only healthy if you suffer for it? Concepts of “healthy” vary vastly from person to person, and across cultures. Is that healthy?

In The Princess Bride—probably the Internet’s second-most quoted source after Wikipedia—the hero cautions, “Life is pain. Anyone who says differently is selling something.”

Yet the villain says, “Get some rest. If you haven’t got your health, you haven’t got anything.”

Whether you agree with any or none of the above, leave me your thoughts on the meaning of “healthy” either in the comments or via an e-mail to paintingonscars[at]gmail.com

 

 

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Interview on Berlin Television

6 Jun

©Ines Barwig(Image ©Ines Barwig)

 

Berlin’s public broadcasting station rbb has just aired a report on Painting On Scars, which you can read about and watch here.

For those of you not fluent in German, I advise you against using GoogleTranslate. As a professional translator, I’ve always considered the service a bit of a rival, but now we’re talking full-blown war. Because while any half-educated human Germanist could tell you that the rbb report translates into English as “Short-Statured – Getting Taller Through Operations,” Google says:

 

GoogleTranslate

 
 

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Barbie vs. Lammily

9 Mar

Lammily is Barbie’s new contender(Image by Day Donaldson used under Creative Commons license via)

Barbie turns 55 today and her birthday risks being overshadowed by a rival. Designer Nickolay Lamm has kicked off a very successful crowdsourcing campaign to fund the production of Lammily, a doll whose body is modeled after the mean proportions (taken from the Centers for Disease Control) for an American 19 year-old because, as her slogan goes, “average is beautiful.” The center photo above shows Lammily at her earliest design stage in contrast to Barbie. The left and right photos show her updated, final form.

Despite that her name sounds like the way most toddlers mangle mine, Lammily does seem quite lovely. But mostly because the problems with her competitor are countless. Barbie represents—and was very much intended to represent—an idea born in the middle of the last century that little girls should play not just with baby dolls or girl dolls, but with a woman doll, a post-pubescent beauty they should aspire to. The very first Barbie was inspired by the German Lilli, a character featured in tabloid comics who worked as a secretary by day and an escort by night. While it’s disputed whether or not the Lilli doll was in fact a sex toy, the longer you look at Barbie, the more that explanation makes sense.

Barbie is all fantasy: too thin to menstruate, with breasts so big she’d have to crawl on all fours to get around. (Sporty Lammily could knock her to the floor with a light kick.)  Fantasies about beauty are fine as long as they remain a niche, not a standard. If her fame and influence were not so unparalleled, Barbie wouldn’t be a cause of much trouble. But she is the most famous doll in the world, and while she often changes jobs and outfits to bend to society’s trends, her body type never budges from the sex toy standard.

My mother swore I would never own a Barbie—how could it be healthy for a girl with dwarfism to idolize a lady who’s all legs?—but a neighbor bought me one for Christmas, and within the next 10 years I owned 12: Tropical Barbie, Superstar Barbie, Ice Capades Barbie, Gymnast Barbie, Fun-to-Dress Barbie, Loving You Barbie, Hollywood Hair Barbie, Cool Times Barbie, Dreamtime Barbie, Dream Glow Barbie, Dream Date Barbie, and my mother’s own, dragged-out-of-the-attic Barbie from the 1960s, whose earrings had turned her cheeks green. The funny thing is that every one of these Barbies had a slightly different face and slightly different blond hair with varying lengths and textures. But, just like the Disney Princesses, the bodies were all exactly the same. Barbie’s oh-so-80s Rocker friends Diva (brunette), DeeDee (black), and Dana (possibly Asian?) represented a broader range of hair and skin, but their bodies were all replicas of Barbie’s. This is what makes Lammily so radical.

But I don’t want an answer to Barbie. I want many answers to Barbie. Lammily correctly demonstrates that an average girl in the Western world is not blond. But blondes shouldn’t be any more excluded or celebrated than anyone else. Declaring “average” bodies and physical features a beauty standard continues to marginalize girls who deviate from the average. Another word for average is “normal” and it’s never fun for a young girl to hear that her body is “not normal.” Both Barbie and Disney have dared to dabble in the beauty of different ethnicities, but they haven’t been brave enough to try different body types – short, curvy, bony, disabled, with freckles or scars or glasses or birthmarks in the shape of Mexico.

In the words of artist Glenn Marla, there is no wrong way to have a body. If Mattel can invent over 50 varieties of blond hair for their preeminent princess, surely doll manufacturers can find a way to profit from providing a rainbow of body types. Maybe they will be brave enough by the next time International Women’s Day rolls around. That’s my fantasy, anyway.

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What Makes A Cast Look Cool?

23 Feb

LegsOrthopedic casts haven’t changed much in 50 years, until now. Engineering student Jake Evill of New Zealand has designed the Cortex cast, a brace made from 3-D printing. While all casts could effectively be described as exoskeletons, the Cortex looks like one. Its lattice structure allows for ventilation, which Evill advertises as its greatest asset. The Cortex is still at its conceptual stage, but, as with almost all new technology, reviews in the media have been pulsing with excitement.

The problems of plaster and fiberglass casts are well known to anyone who’s had to wear one. They’re fairly heavy and very bulky. Worst of all, they make your skin itch like the dickens and you are forbidden from using any implements to scratch because the smallest cut can become badly infected in the dark, suffocating conditions damp with sweat and dead skin. I had to wear casts on both legs after two tendon surgeries and once after having Ilizarov fixators removed. The itching alone was bad enough to make me wish I had the fixators back on.

Anything that claims to be lighter and breathable is a very attractive proposition. But while the Cortex website boasts that the cast is waterproof and therefore perfect for bathing and swimming, this probably means that there is no cloth involved. The cloth lining between a traditional cast and your skin contributes to the itching, but it’s there to prevent abrasion. Watchmakers, jewelers and BDSM professionals all know that any material other than cloth or leather can pose serious risks to human skin.

And the claims that the innovative appearance of the new cast is stylish? What exactly makes a cast stylish? While I could see goths maybe being partial to the Cortex if they could order it in black, reviewers seem to be fawning over the look of it simply because it’s new. And the promotional photo for the Cortex features a well-toned, scarless, unbruised arm that looks a bit too healthy to contain a broken bone.  (I half-expect the owner of the model’s fist to be shouting, “BY THE POWER OF CORTEX!”) 

Style is all about what you do with what you’ve got.  Fiberglass casts come in assorted colors. I had hot pink ones while performing in a school play and ended up enhancing one dream-like scene lit only by ultra-violet light. When I had neon green casts, friends painted my toenails to match. And the good old tradition of letting your loved ones cover your limbs in graffiti is worth mentioning. A friend who is a professional painter adorned the bottoms of my feet with elaborate sunflowers.

Then again, some casts do not conceal only injuries. A young friend of mine once stuck a chunk of steak down her cast in order to get out of having to eat it before dessert. She managed to retrieve only part of it after dinner – the rest tore away and remained lodged deep in the plaster caverns enveloping her arm. Her parents remained unaware for days until the entire house began to reek of rancid meat. With the new cast design, families with deceptive children need not fear such hazards.  The Cortex offers not only porousness but transparency!

 

 

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Will Dove’s New “Selfie” Film Redefine Beauty?

26 Jan

 

In another installment of its positive body image campaign, Dove has released an 8-minute documentary called Selfie that premiered last week as the Sundance Film Festival.  For those of you who can’t watch it, the film can be summed up thusly:

***

Mothers with their teenage daughters talk about their insecurities about their own bodies.  One girl reveals that her mother’s urging her to wear cosmetics makes her uneasy. 

Cut to a high school gym, where a professional photographer addresses female students, telling them, “I’m here to talk to you about beauty.  You have the power to change and redefine what beauty is!  … The power is at our fingertips.  We can take selfies.”

Cut to her workshop about self-portraiture. “I’m going to ask you to take a risk that could change the way that people define beauty.  What if we find a way when you guys are taking your selfies to actually incorporate the things about us that we don’t like?” The girls list what they hate about themselves: braces, glasses, round faces, rosy cheeks. 

The photographer points out that mothers often pass on their own insecurities to their daughters, to which one girl vociferously agrees.  The girls then are given an assignment to teach their mothers how to take selfies, because “Your mom can redefine beauty just like you can.”

A touching montage of mothers and daughters learning to embrace their least favorite features plays, culminating in an exhibit of the selfies, where visitors leave Post-Its complimenting the girls on their looks.  The girls then smile at how good the compliments made them feel.  The mothers declare that social media is redefining beauty by putting the creativity in the girls’ hands.    

***

I absolutely love the way the film takes mothers to task, especially in light of this week’s report that parents are googling “Is my daughter ugly?” three times more often than they are posing the question about their sons.  We cannot teach our young women that they should not obsess over their looks if we don’t believe it ourselves.

I also like Dove’s idea of promoting the anti-duckface selfie, the least-favorite-traits selfie.  This film will do some good.  But does it truly redefine beauty for everyone?  Does it include everyone?

What about a girl with muscle spatisticity?  What about a girl with the physical markers of Down Syndrome?  What about a girl with scars, burns or chronic skin discoloration?  And, perhaps most importantly, what about that girl who is silently—obsessively—counting and comparing the compliments on her selfie to the compliments on others’ selfies?  Hierarchies survive through feelings of competitiveness.  What about the girl who ends up with the fewest or the least glowing compliments?  Does the project teach these girls how to deal with that, or does it leave them to their own devices?

This is not criticism for the sake of cynicism, but for the sake of empiricism.  The Love Your Body movement has been around for over 30 years, yet eating disorders are on the rise and our mainstream standards of “beauty” have not deviated from tradition at all.  (Go ahead and google “beauty” right now in an image search and see how diverse the results are.) 

As with so many Love Your Body projects, the girls in the video are not beautiful under the sociological definition of “super-normal” (strange and considered exotic), but they are far from the sociological definition of “abnormal” (strange and considered repulsive).  Everything they hate about their bodies—cheeks, glasses, eyebrows, braces—still falls smack in the middle of healthy human appearance.  It’s the equivalent of adults in the middle-middle class and lower-middle class discussing how “poor” they feel for not having made it into the top 1%.  Such insecurities are valid, but repeatedly restricting the discussion to those who only just barely challenge society’s definitions of “success” or “beauty” is safe to the point of almost seeming scared of rocking the boat too hard.

This is not to say that girls with more abnormal looks deserve more sympathy than those closer to average.  On the contrary, in my experience low self-esteem does not correlate to appearance.  I know many women who, being a few pounds overweight, are far less happy with themselves than other women with severe and rare deformities.  Perhaps parents are more dedicated to boosting self-esteem when their daughters more noticeably deviate from the norm. 

Or perhaps being excluded from the game from the get-go helps a girl to see how dumb the rules are to begin with.  Returning to the analogy of class, researchers have found that wealthier parents often have a harder time handling severely disabled children because they upset their need to be in control (“He breaks things!”), whereas parents living below the poverty line are more accepting of life’s unreliability (“Eh, there’s nothing in this house that wasn’t broken long ago!”)  Similarly, girls and the parents of girls whose looks could possibly near the standard of super-normal beauty may be more likely to spend time, money and anxiety trying to reach it than those who give up trying to wow the crowds and instead laugh at the delusional nature of it all.

Either way, I don’t think the Selfie project would be hurt one bit by a truly diverse sample of beauty.  (Let’s get some felfies in there, while we’re at it.)  Rather than monologuing about our own individual fears and demanding strangers allay them with compliments, we need a dialogue between the girl on the far end of the spectrum who’s been trashed for her looks and whoever it was who gave in to the temptation to trash her.  We need a dialogue between those who want to meet an elite standard of beauty and the type of people who support that standard.  We need a dialogue between the ugliest person you can imagine and your reasons for deciding they’re ugly.

That would redefine a lot.

 

 

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“Fashionista Has Leg Amputated So She Can Wear High Heels”

2 Dec

L0066938 Illustration showing treatment of a clubfoot Credit: Wellcome Library, London. Wellcome Images images@wellcome.ac.uk http://wellcomeimages.org Illustration showing treatment of a clubfoot 1806 Memoria chirurgica sui piedi torti congeniti dei fanciulli, e sulla maniera di correggere questa deformità / Antonio Scarpa Published: 1806. Copyrighted work available under Creative Commons Attribution only licence CC BY 4.0 http://creativecommons.org/licenses/by/4.0/

(Image from Wellcome Images used & altered under CC)

 

Or so The New York Post would have you think.

21 year-old Mariah Serrano was born with a club foot.  By the time she was a teenager, she faced increasing chronic pain and her doctors strongly advocated amputating and replacing her leg with a prosthetic one. Now an assistant designer for American Rag and author of the blog Confessions of a One-Legged Fashionista, she recently shared her story with the Post:

Serrano struggled to look like the other girls in her high school who often called her “gimpy.”

“I felt silly in pictures, I was the only one in these shitty little ballet flats,” she recalled.

“I had to wear all sorts of braces. It was uncomfortable and frustrating because they weren’t solving the problem and I often felt embarrassed.”

The glamour girl wore patterned knee highs and flashy tights to mask her deformity. She even dyed her hair pink to distract people from staring at her leg. She eventually stopped going to classes and was home-schooled.

“Kids are mean,” she said. “It made things very hard.”

“A lot of times I felt left out because I loved to dance and go out.”

But even more mortifying for the teenage girl, was being forced to wear sneakers to prom.  “I was really devastated in the mall,” she recalled, after shopping for four hours to find a chic shoe.

The article never mentions any medical purpose for the amputation. Serrano is only quoted as hating the limited number of footwear options that had been available to her prior to the operation. The story ran four days ago and was quickly picked up the British tabloids.  And Serrano is not pleased.  She explains on her blog:    

I did not choose to cut my leg off so I can wear high heels, I had my leg amputated because I was very sick and the quality of my health and life were suffering. Doctors do not welcome the idea that you are unhappy with your footwear choices, so you should remove body parts.

This event was a real decision that I took very seriously. It was a decision my family and I made together, so that I would be able to live my dreams, and not mind you, dreams of footwear, but dreams of waking up and going about my life not in chronic pain.

I think it’s safe to say that The New York Post is not a feminist crusader on the issues of body image and beauty standards.  So why then would they decide to warp Serrano’s words to feed the image of the fashionista lifestyle as a vile instigator of self-mutilation?  The story of a young girl simply but bravely electing to trade chronic pain for a prosthesis is severely lacking in vitriol. This means there is no surefire guarantee that it will unleash a deluge of jaw-dropping, eye-rolling, and catty comments from readers about the girl in question.  That guarantee is essential to the business the Post is in.

Serrano is hardly the first individual to be misrepresented by the tabloids.  But who’s keeping the tabloids going by hungering after such headlines?  It’s this hunger that drives journalists across the spectrum to emphasize the most soap opera-like elements of a person’s life story.  I’ve seen the most loving, supportive families with disabled children portrayed as walking tragedies based on a few of their more emotional quotes taken out of context.  This approach knows that readers and viewers will consequently feel sorry for the pathetically confused freaks, and good about themselves.  Not unlike the mean classmates Serrano cites from her high school days.

So if anyone is interested in ending the tabloids’ tradition of tearing people’s personal lives to shreds, we can curb their sales by curbing our desire to use bits of information about people we don’t know as an easy way to prop ourselves up. Of course this is asking a lot, and so, once again, we must decide which is harder – altering the way we think or altering our bodies?

 

 

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New Rights for Intersex Newborns in Germany

25 Aug

Germany has become the first country in Europe to allow parents to check one of three boxes for gender on their child’s birth certificate: “male,” “female,” or “blank.” The new option is intended to accommodate the parents of intersex newborns; i.e., those whose reproductive or sexual anatomy does not appear to fit the traditional definitions of male or female. The children will be allowed to choose “male” or “female” later in life, but they will not be required to. This will all go into effect November 1st.

While the law says nothing about gender ID in passports, equality activists are celebrating it as a tremendous step forward. According to Silvan Agius of the International Lesbian, Gay, Bisexual, Trans and Intersex Association, the European Union has been slow to act on issues of gender identity. “Germany’s move will put more pressure on Brussels,” Agius told Der Spiegel. “That can only be a good thing.”

However, not everyone in the intersex community is celebrating the idea of a third gender box. Creating a new category, they argue, is to give in to the idea of narrowly defined categories. Instead of turning the gender binary into a triad, why not loosen the definitions of “male” and “female” to include those with all sorts of bodies? Many people with intersex conditions have a perfect sense of belonging when it comes to gender – they only feel alienated when others insist they don’t belong.

And while they often cooperate politically, intersex people should never be confused with transgender, transsexual, or genderqueer people. The Intersex Society of North America states, “Most people with intersex conditions come to medical attention because doctors or parents notice something unusual about their bodies. In contrast, people who are transgender have an internal experience of gender identity that is different from most people.” The ISNA’s history of intersex offers much information about the long medical tradition, and resulting problems, of conflating and confusing the two.

Professor Alice Dreger explains that cases wherein intersex individuals also qualify as transgender because they elect to transition from the gender assigned to them at birth—this is essentially the plot of the 2002 Pulitzer Prize-winning novel Middlesex—are quite rare. Dreger notes, “Far more often, the concerns of intersex and transgender people represent opposite sides of the same coin: intersex people get surgeries they don’t want, and transgender people can’t get the surgeries they do want.” The surgeries many intersex people regret having undergone in childhood are primarily cosmetic, removing or adding tissue only for the sake of “normalizing” the appearance of their genitals, and at the expense of sensation and function.

Another all too common problem is the concealment of the patient’s intersex condition by her parents and doctors, leaving her unaware for as long as possible and discouraged from asking the questions she might begin to have about her anatomy. In her essay “Twisted Lies,” Sherri G. Morris writes that not finding out until college that you are without a uterus can be rather upsetting, to say the least.

As for the well-known term “hermaphrodite,” it is inaccurate at best and defamatory at worst. The word represents the idea of one person being anatomically both male and female, and this idea is a purely mythological one. Because it is physiologically impossible. As Dreger points out:

…the only way you could be born with “both sets of genitals” is if you had two bottoms. The clitoris and the penis are homologues—they are the same organ developmentally—so you get one or the other, or one in-between organ. Similarly, the labia majora and the scrotum are homologues—so you get either a set of labia majora, a scrotum, or something in between. But you can’t have all the female parts (clitoris, labia majora, etc.) and all the male parts (penis, scrotum, etc.) on one person…

What people mean when they say a person “was born with both sets of genitals” is that a child may be born with a phallus that looks a lot like a penis plus a vagina (the tubular organ that goes from the outside of the body towards the uterus, if there is a uterus). This can happen because of hormones, in conditions like congenital adrenal hyperplasia and partial androgen insensitivity syndrome. But to say that gives you “both sets of genitals” is to pretend that somehow all that matters to males is their penises and all that matters to females in their vaginas. In fact, many of us women also care about our clitorises. (For that matter, many men care about their scrotums.)

Unfortunately, sick fascination with the hermaphrodite is utterly pervasive today. Comedians of all stripes, from South Park to Flight of the Conchords, have yuk-yukked over the idea of a person with both sets of genitals being able to have intercourse on their own, while artists have done their fair share of poking at and playing with the myth. (See here for an intersex woman’s take on Middlesex.)

On this issue the ISNA is emphatic: “The terms [‘hermaphrodite’ and ‘hermaphroditism’] attract people with sexual fetishes and fantasies that, frankly, we as a patient advocacy organization are not interested in hearing from.” They therefore advocate expunging any terms related to “hermaphrodite” from all medical literature:

We think it is much better for everyone involved when specific condition names are used in medical research and practice… While some intersex people seek to reclaim the word “hermaphrodite” with pride to reference themselves (much like the words “dyke” and “queer” have been reclaimed by LBGT people), we’ve learned over the years it is best generally avoided, since the political subtlety is lost on a lot of people.

Meanwhile, in an Op-Ed piece appearing yesterday in Spiegel International, Agius argued, “…real progress for intersex people is not measured through the number of available labels but through an end to the human rights breaches currently being inflicted.”

Indeed, the new German law is just the tip of the iceberg. Considering that one in every 2,000 infants is born with an intersex condition, shame-induced secrecy continues to be an abysmal problem. The rights and concerns of those with intersex conditions receive far too little attention. (I was completely uninformed until I met Dreger ten years ago at the conference Surgically Shaping Children.) Whatever the legal specifics, Germany’s new law will hopefully promote awareness above all else, and in more ways than one.

 

 

 

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“Power for Good”

28 Jul

tumblr_mqm3ypKbXg1qz5q5lo1_500(Via)

 

Tropes are ideas we construct based on observing patterns in society and wanting to understand them. Stereotypes are ideas we construct based on hearing about patterns in society and accepting them at face value. Needless to say, stereotypes based on that which we have no choice about—our sex, gender identity, sexuality, ethnicity, nationality, physical traits, or mental abilities—usually do more harm than good.

Not only do they deny minorities equal rights and opportunities, but a recent study shows that embracing racial stereotypes leads to creative stagnation. So how do we combat them? 

In the wake of the Trayvon Martin verdict and President Obama’s call for a dialogue on race in America, Harvard researchers announced a competition to find the quickest, most effective method for getting people to let go of the prejudices they have about a certain group. The results? Calls for empathy and other try-to-put-yourself-in-their-shoes methods were largely ineffective.  What worked best was showing the participants counter-stereotypical images. World leaders with severe disabilities. Parents proudly painting their son’s toenails. Construction workers nursing their babies. Sons helping out with the housework.  Seeing is believing, apparently.

It is crucial to note that celebrating diversity can feel patronizing, especially to the subjects. The goal, after all, is to drive stereotypes to extinction so that observers find absolutely nothing extraordinary about any of the above images. Because the subjects do not feel extraordinary, at least not all the time – they feel normal.  No person who can qualify as a minority or counter-stereotype should feel pressured to spotlight their everyday life if they don’t want to.  But it is encouraging—if not unsurprising—to see that altering media portrayals of society alters a good deal of the prejudices plaguing too many corners of society.

As my friend Sarah Winawer-Wetzel recently said:

For me, it validates the importance of being out as a gay person. How else are people going to believe that a nice white Jewish girl who dresses femme and doesn’t look particularly counterculture can be queer if I’m not out like a friggin’ lightbulb everywhere I go? I’m not doing it just for me – I’m doing it so that when a little kid looks at the world and thinks about being gay, that kid sees the full spectrum of possibilities, not just a cultural stereotype. Those of us who control visuals and representations of people in the media need to remember to wield our power for good.

We often forget the power we wield when we have a stereotype in our hands, thinking it’s bigger than anything we can do about it. But it is not.  And that is wonderful.

 

 

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What To Do When I Go FWOMP!

23 Jun

(Image by Stephen Alcorn © 2003 http://www.alcorngallery.com)

 

“HEEEEEY!” Friends were at the door, back fresh from a vacation that had seemed far too long for me to endure. At the sound of their dulcet voices calling me in unison, I jumped from my chair, rounded the corner, darted down the hallway toward their open arms, and FWOMP! Iwassuddenlyhorizontal.

My friends gasped, “OMIGOD, ARE YOU OKAY?!” Apparently this time I was, from what I could tell of the pain, and I bounced up before they finished asking, throwing my arms around them both at once and laughing, “How’s that for a dramatic hello?”

“You’ve been drinking again, haven’t you?” one of them smiled.

“Yes!” I beamed. “You know exactly what to say! How was your vacation?”

We chatted for about five minutes, made plans for the next day, and said hasty goodbyes because their toddler was itching to get home. As I shut the door, I rubbed my knee, looked at my partner, and shook my head. “I’m gonna have a new bruise on the left to match the right.”

Two weeks before I’d gone flying down the same hallway, but that time it had really knocked the wind out of me and left a cut needing a bandage. I had reacted a little less wryly – diaphragm spasms are never pleasant and they forced me to let out a yell that sent my partner running from the kitchen. But after my initial roar, I switched to hollering, “I’M FINE! I’M FINE! DON’T PANIC! I’M FINE!” Our guests came peeking out of different rooms, everyone asking me how I was.

I was fine, but I was mad. Mad at gravity, mad at the pain, mad at my useless tendons and weak muscles that cause me to stumble on average about every ten days. But I wasn’t that mad. I’ve gotten used to it, after all.

Because my anterior tibilias tendons on both legs were severed some time during my first limb-lengthening procedure, I use different tendons to lift my feet when I walk. They compensate relatively well, but since they cause my feet to point slightly outwards rather than straight ahead, I’m a walking accident waiting to happen. It’s compounded by the fact that my muscles fatigue more quickly than others’ due to my dwarfism. It’s been this way since I was twelve and changes only in that the bigger I get, the harder I fall.

Since I was my surgeon’s only known case of tendons severing during limb-lengthening, most people with dwarfism do not face this problem. Some do, however, when their greater susceptibility to fatigue combines with their having to carry an average-sized trunk around on exceptionally short legs. In other words, had my tendons not severed, I may or may not have had this habit of losing my balance. It’s exasperating and inconvenient, but what can I do about it?

Laugh, for one thing. Over the years, I’ve decided a woman falling down is both hilarious and revolutionary—what with the delicate ballerinas we’re supposed to be—and drinking too much is just one of many lovely excuses to offer for it. Years ago I fell while carrying an armload of water glasses and promptly ended up in the emergency room with stitches and a black eye. From the physician named Dr. Goebbels to the nurses insisting my partner leave the room so that I could be free to explain what had happened, the opportunity for sick jokes was everywhere.

Friends have kept records of my losses in the battle against gravity. Some are critical, sighing, “EMILY, that’s the second time today!” while others are cheerleaders: “It doesn’t count this time because the ground is uneven.” (And can I just point out that the German word for gravity—Schwerkraft—literally translates as “heavy force”? I love German.)

Of course, I’m not always at my best when it happens. Often I fall because I’m particularly tired and this results in my being particularly bad-tempered about it. That I kvetch the most to those I know and love the best is logical, but not entirely fair.

When my peers witness me falling for the first time, many of them don’t know what to do. I’m trying to get better at telling them. If I’m not badly hurt, but still somewhat hurt, I try to shout that I’m okay to curtail their apprehension. Taking a minute to help me up and, depending how close we are, offering me an arm until I’m steady on my feet is almost always appreciated. Breaking into a panic and giving me the sense that it’s my job to calm them down is less helpful.

Most people who have to deal with pain caused by disabilities don’t want any more sympathy or attention beyond what we would give someone with a light headache. (In fact, many of us want a tad less sympathy than what some with mundane headaches go fishing for.) If I’m not hurt, anything you say to keep the mood light as a Screw-you! to my heavy fall will be invaluable. If I am hurt, any offers to help before I have to ask will be worth even more. And if your gentle-yet-practical manner demonstrates particularly good caregiving skills, I’m going to tell you so. Experience has made me a particularly good judge.

And I’m not embarrassed when I fall, so please don’t be embarrassed for me. At best, it’s as disruptive as a mighty sneeze. At worst, it’s a mood-killer.

The one fall that still makes me cringe to this day happened as I was stepping off a stage after delivering a poem to thunderous applause. I spent the summer before my senior year of high school at a young writers’ workshop in the Berkshires, where I found all the beauty, intellect and acceptance I been dreaming of ever since I first put pen to paper. Reciting one of my pieces to giggles and cheers made me feel as great as anyone on any podium has ever felt. The moment had been just perfect. And then, I slipped. The handsome emcee looked sincerely concerned: “Are you okay? Are you okay?” He had to keep asking because I was mumbling my answer, mortified to even acknowledge what had just happened. In my head I was begging everyone in that room, Please remember my poem and not my fall. Please.

Then again, “And Emily came tumbling after” is a poem in itself. It doesn’t work as well in Germany, what with no one having grown up with Mother Goose, so I’ll have to settle for the joke about being drunk. That one’s an international success.

 

 

 

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PINK!

19 May

(Image by Monika Tugcu used under CC license via)

 

This holiday weekend I’m sparing you my deep and profound thoughts about the Barbie Dreamhouse exhibit that opened this week in downtown Berlin and the protest that accompanied it.  Instead, I’ll let the issues and problems of beauty standards and femininity and sexuality and body image and fashion and pink and sparkles be summed up by a little story I discovered this year:

In 1999, Jon Stewart was invited to be featured in People magazine’s annual list of 50 Most Beautiful People.  (I’ve written about the List before in The Body Image Series, highlighting Michael Chabon’s excellent reaction to it.)  Stewart agreed to be featured but insisted on wearing a pink prom dress and a tiara for the photo shoot.  Why? 

“I feel pretty!”

 
 

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Who You Telling To Wear Makeup?

28 Apr

fashion show(Image by Alex Craig used under CC license via)

 

While chatting with colleagues over coffee this week, I ended up “outing” myself as a dwarf who’s had limb-lengthening.  (Experience has taught me some people notice right away when they meet me that something is up, while others go a long time without the slightest idea, especially in the wintertime when my scars are hidden under sleeves and pants.)  We arrived at this topic by discussing fashion—and the recent scandal in Sweden that’s left me almost speechless—and then beauty and self-confidence.  Several of my colleagues pointed out that every person they know who’s undergone cosmetic surgery never struck them as unattractive before the fact.  Only an idiot would think that there’s only one kind of beautiful nose or mouth or whathaveyou.  And only a jerk would tell someone to have cosmetic surgery.

As you may have guessed, I agreed wholeheartedly.  But what about telling someone to wear makeup?

This week, a man writing to Slate’s Dear Prudence advice column confessed he feels simultaneously guilty and helpless about the fact that some of his female friends are unlucky in love because “their looks are probably the only thing holding them back.”  Prudence tends give good, progressive advice, but this time, instead of telling him the ladies should move in less superficial circles, she suggested he pair them up with some similarly “average-looking” male buddies.  She then added, “If the problem with your female friends is not their intrinsic looks but the fact that they dress like schlubs or never wear makeup, then a guy’s perspective that they aren’t doing everything with what they’ve got could spur them into action.”

Ugh.  Say what you want about clothes, but the makeup debate is as messy and gunky as makeup itself, which is why I’ve avoided it up until now.  But am I the only one who thinks telling someone to start using makeup is entirely different from giving them your opinion about the way they dress?

Everyone, from my partner to my grandmother, rolls their eyes at certain fashion choices and, as I’ve said before, anyone who denies they ever do it is lying.  It betrays a pathetic insecurity to trash others’ dress for the sake of your own self-aggrandizement—e.g. “I wouldn’t be caught dead in that!”—but it is fair to say what just isn’t your cup of tea.  We can snark a little about someone’s clothes, hairstyles, accessories, headgear or makeup style (if they have one) without too much malice because someone is probably snarking about ours.  No one on earth dresses in a way that is universally attractive because there is no such thing as a universal beauty standard.  And as the saying goes, there is no arguing taste.  Someone thinks this is kick-ass, and someone else thinks it’s sloppy:

Captain Jack Sparrow

Someone thinks this is dreamy and someone else thinks it’s one big yawn:

Jason Straatmann Actor Japan Suit Tie Cufflinks Model

Someone thinks this is sexy and someone else thinks it’s garish: 

Untitled

People find beauty in this:

Traditional Korean dance

Or this:

Ethiopia, Mursi woman

Or this:

Bollenhut-Gutach

Or this:

4601942293_27f40e0122_o

Or this:

Namibië, oktober 2008

Or this:

 
And that’s just a tiny sample from around the world. There is even more variation across time because, as Oscar Wilde said, “Fashion is a form of ugliness so intolerable that we have to alter it every six months.”  I think some of my friends, like some of the subjects above, have a great sense of style, while others do not.  They in turn probably think the same about me.  But if any of them thought I should wear makeup more often than I do—which is almost never—and told me so, they wouldn’t be my friends.  But what if they’re my supervisors?      

In January, a study featured in The New York Times revealed that (American) women who wear makeup are considered more competent and more likable in the workplace.  A panel of stylists and professors made various points about this that basically all boiled down to, “It’s a choice.  If it makes women feel more confident, they should go for it.”  But if the study indicates that their confidence would result from garnering more positive attention for their looks, then their lack of confidence without makeup would result from a fear of not getting attention for their looks. 

Many modern women, especially lipstick feminists, repeat, “Empowerment is all about being free to choose!”  There is truth in this.  I know guys who were bullied in school for wearing concealer or plucking their eyebrows.  Women meanwhile are often forced into a nearly impossible balancing act wherein no makeup = plain Jane, but too much = slut, and kudos to anyone who refuses to play that game.  Good girl culture, as well as the results from the study, assert that “less makeup is more – you should look like you’re not wearing any.”  This rule seems potentially problematic to me because it is insidious.  If someone gets used to just slightly “improving” their face every day, it is more likely they’ll feel insecure without these improvements.  I occasionally enjoy wearing heavy makeup bordering on the outrageous (like glitter), but it feels like a mask and everyone knows it’s a mask.  When it’s so obviously part of a costume, there’s not much danger that I’ll start considering it an inalienable component of myself.  But the subtle makeup seems to be a lot harder for people to let go of.  I know women who refuse to be photographed without their makeup on—and you probably do, too—and if that doesn’t sound like an unhealthy insecurity, I don’t know what does.

In any case, it doesn’t sound like they are “free to choose,” as lipstick feminists advocate.  As I’ve written before in explaining my choice to have my limbs lengthened, we should be free to make complex decisions about our bodies without others making snap judgments about our motivations.  Anyone who does is a coward.  But it is also cowardly of us to voice hatred for our natural faces and simultaneously deny that this has any impact on others.  In the words of philosopher Arthur W. Frank, “When we make a choice, we confront others with that choice.”  The freedom to choose diminishes when a strong majority bends in one direction, because majorities create social pressure.  In a society that literally rewards women who wear makeup—i.e., with higher salaries—it is undeniable that many do so in order to win these rewards, ultimately playing by the rules under the guise of empowerment.  The cosmetics industry, like any industry, always aims to make their customers feel that they cannot live without their product and so they too have embraced the slogan of “Empowerment!”  Leading The Onion to smirk, “Women Now Empowered By Everything A Woman Does!” 

It would be obnoxious of me to assume that every woman with a compact in her purse does it to acquiesce.  I know and admire self–confident women who love putting on bright red lipstick and self-confident men who wish they could, too, without being gawked at.  Primping can be fun.  Painting your skin certain colors can make you feel fine and refreshed, like slipping into a brand-new top or getting a new haircut.  Or brushing your teeth after a hangover. 

But it’s not quite the same thing, is it?  Once again, it’s a mask.  A friend of mine who loves dressing up but hates wearing makeup recently said, “I guess, ultimately, it’s weird looking in the mirror and seeing something that doesn’t look like me.  I don’t really like makeup on other people either though, so perhaps it’s a general class of trying to hide oneself that bugs me.”   

Indeed, that is one of my many reasons for rarely ever using cosmetics, why I graciously declined friends’ offers to do me up on my wedding day, why I cringe at the idea of anyone pressuring women into it.  I also like being able to rub my face without having to worry about smudging.  I’d rather spend the money on a million other things.  My partner hates the taste of cream, gloss or powder—“Kissing someone wearing foundation is like kissing a sandbox!”—and I must say I don’t blame him.  Most importantly perhaps, I don’t understand why our culture believes that women’s faces require some paint in order to be attractive but men’s faces don’t.  If I can’t compensate for the plainness of my natural face with my charisma, then no one should be able to.

Of course, almost all of us conform to our culture’s beauty standards to some degree.  I’ve worn concealer for blemishes and plucked my eyebrows to make them even, but I feel a strong attachment to my scars and so I’ve kept them.  I don’t always like my face—don’t we all have those days when we look in the mirror and just feel yucky and dissatisfied?—but even if I thought putting on some modern Western style of makeup would make me look “better,” it wouldn’t look like me.  Experience has also taught me that a dissatisfaction with one’s looks is almost always rooted in something more substantial: feeling not very fit, feeling overtired and stressed, feeling lazy because there’s been too much or too little to do.  And even if it’s not, I often feel very satisfied with my face, so on a bad day why not simply walk away from the mirror, focus on something a little more profound than my appearance, and have confidence that the feeling of self-satisfaction will return?

As psychologist Nancy Etcoff wrote in The Times:

Women who feel that makeup use is obligatory but unwanted, that it requires a forced confrontation with the mirror when they’d rather put their attention elsewhere, do not feel more confident after using it.  Research suggests that women can feel objectified by makeup, and for such women, any potential advantage may be offset by the emotional labor of wearing it.

And, in an excellent article on weddings, Ariel Meadow Stallings of Offbeatbride.com writes:

I’ve been thinking a lot lately about the pursuit of authenticity versus the pursuit of attention.  The first feels very internal, like you really have to look with-in yourself with a lot of introspection and thought to determine what’s important … while the other feels very external, like you’re hunting for other people’s eyeballs.  And why does one seem like so much fun, while the other seems like so much work? …

I guess it comes down to this: Attention gives you the cheap high of other people’s energy focused at you … but authenticity gives you that deep, long-lasting satisfaction of knowing that you’re on the right path and you’re doing the right thing.  While the quick high is more fun in the short run, the deep satisfaction is ultimately more filling.

This is why it is fine to wear makeup but wrong to tell someone else to.  Not only is it a ludicrously presumptuous, boundary-crossing thing to say—like telling someone to switch careers or leave their spouse—but it’s vacuous because it has nothing to do with matters of justice or morality.  It is sheerly a matter of beauty standards.  The worst thing about beauty standards is that they create peer pressure based merely on taste.  The best thing about them is that, as seen above, there are millions of them, and they are constantly changing.  If humans are capable of thinking the lip-plate is attractive, then surely we are capable of thinking a woman without makeup is attractive. 

Women and men should feel free to smear their faces with whatever they wish or go without, to pluck their eyebrows or leave them be, to shave any body part or refrain.  (Bearing in mind doctors have recently explained the cringeworthy risks of shaving certain parts.)  But the moment they say that someone should do the same in order to feel better or lure lovers or advance their career, we have a problem.  And it’s not physical.

 

 

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Who Gets Stuck in the Friend Zone

24 Mar

Love for all!(Image by Matthias Ripp used under CC license via)

Well, I finally sat down and saw The Phantom of the Opera a quarter of a century after everyone else.  (If you don’t know the story, this parody sums it up pretty well.)  I won’t say what I thought of all the songs songs songs because I’m bound to alienate half my readers either way, but by the second to last scene, I was hollering at the screen: “Girl, you’d better not go for that swaggering bully in the mask!”  But then she ripped the mask off and he couldn’t stop crying and I was up to my eyelids in Kleenex, wailing: “If only he hadn’t killed so many people!  (And talked to her instead of stalked her… )  Now he’s just another disfigured guy stuck in the Friend Zone!  But his pain is reeeeeeeeal!”

This week, the word “Friend Zone” has been entered into the Oxford English Dictionary.  Many of my favorite feminists are not pleased.  Because the term is generally thought to be something only straight, bitter men complain about (see these Urban Dictionary definitions), many argue that it’s a misogynistic trope.  Lamenting the Friend Zone sends the message, however subliminally, that spending time with a female is pointless unless you gain access to her naughty bits.  Because who would want to be friends with a woman?! 

Such a bleak view of women is certainly a problem among many men.  In the words of John Mix Meyer, “Girls are not machines you put kindness coins into until sex falls out.”  Nice for the sake of nice is respect.  Nice only for the sake of getting laid is not.  As I’ve said before, cross-gender friendship could use a lot more support in books, film, and mainstream society.

But I’ve also used the word “Friend Zone” before because I don’t believe it refers only to this one chauvinistic idea.  Unrequited love isn’t fun for anyone.  Lots of women have been stuck in the Friend Zone, too.  Many people are expected by pop culture to always end up there, because society deems them asexual, and it could be helpful to examine why.  Almost every adult on earth craves love and sex, and we are all trying to figure out what attracts those we deem attractive. 

Men who sigh, “Girls don’t like nice guys,” need to get over their narcissism.  But there are others who wonder in earnest why the Friend Zone seems so jam-packed with quiet guys who genuinely respect women.  In stories of every genre, from classic literature (Madame Bovary) to modern literature (Freedom) to dime-a-dozen bodice-rippers (The Bridges of Madison County), bored heroines look past their straight-laced suitors to the tall dark stranger who’s not exactly famous for his fidelity or his feminism.  Love triangles always make for good drama, but when the heroine more often than not decides that the devoted sweetheart belongs in the Friend Zone and the unpredictable bad boy belongs in bed, many scratch their heads and repeat, “Why do girls always go for jerks?”  Or, as The Mr. T Experience sings, “I have some problems… but even Hitler had a girlfriend, so why can’t I?”

The answer often depends on the situation, but there are two fundamental, heteronormative traditions that prop it up:

The Macho Stereotype – Any guy who isn’t strong and independent to the point of being daring isn’t a “real man.”  Obeying the rules, doting on your wife, and being mediocre is emasculating.  Hence the double standard men are held to in real life: they are always expected to focus more on their success and autonomy than their emotional fulfillment.  Sociologist Stephanie Coontz has pointed out that the inordinate importance of independence to male worth is why homeless men arouse so much more disgust than homeless women.

The Gentler Sex Stereotype – A nice girl can see the diamond in the rough.  A man with a nasty wife is hen-pecked and pathetic, but a woman with a bad boy just might be the only one who understands him.  From a conservative standpoint, it’s virtuous of a woman to be so selfless and forgiving.  From a liberal standpoint, it’s the thrill of conquest and her extraordinarily open mind that keeps her trying.  

A man’s worth is defined by his success, albeit many women accept broad definitions of success.  Western romances across the ages assert that special girls who search for the softer side of the bully or the bad boy will find it: Beauty and the Beast, Wuthering Heights, My Fair Lady, The Sound of Music, The Music Man, Guys and Dolls, Bonnie and Clyde, right up to Fifty Shades of Grey.  Pop culture reiterates ad nauseam how much men love the chase, but this trope shows that scores of women do, too.  For the starry-eyed heroine, it’s a challenge to stray from the disapproving masses—or her parents—and become the One Special Woman who can tame the beast and bring joy to his lonely life.  The higher the risk, the greater the reward.  The reward is knowing that she is deeper, different from those other girls who swoon over bland perfection.  Hence even America’s most famous feminist, Lisa Simpson, has looked past loyal, bespectacled Milhouse for Nelson, the schoolyard bully from a broken home.  

By far the most horrific result of this romantic tradition is the fact that too many women in real life endure abuse, or worse. Pop culture sometimes concedes this and still has the audacity to romanticize it.  My high school did a production of Rodgers & Hammerstein’s Carousel the same year Time magazine declared it the Best Musical of All Time.  After wife-beater Billy Bigelow dies in an armed robbery, his widow tells their daughter, “It is possible, dear, for someone to hit you, hit you hard, and it not hurt at all.”  You see, truly devoted wives know that offering yourself up as his punching bag is a way to show your love and nurture him as he struggles with his demons. Only a selfish bitch would leave him when he needs her most.

Carousel was written in 1956, but the trope is still going strong. The final film of the Twilight series lead NPR’s Linda Holmes to observe:

When a saga popular with pre-adolescent girls peaks romantically on a night that leaves the heroine to wake up covered with bruises in the shape of her husband’s hands — and when that heroine then spends the morning explaining to her husband that she’s incredibly happy even though he injured her, and that it’s not his fault because she understands he couldn’t help it in light of the depth of his passion — that’s profoundly irresponsible.

Yes, we’re all having a good yuk over the unhinged quality of it all.  And yes, it’s a movie with a monster baby… But romanticizing an intimate relationship that leaves bruises and scars is a particularly terrible idea in a film aimed at girls. Talking about this is tiresome, but then so is putting it in the movie.

Indeed.

But attraction to the forbidden is not always dangerous.  Sometimes the bad boy is just misunderstood.  There is a powerful romantic tradition of fine ladies risking wealth and status for true love.  (See Aladdin, Titanic, Robin Hood, Moulin Rouge, Lady and the Tramp, Lady Chatterley’s Lover, The Pirates of Penzance, The Pirates of the Caribbean.)  There are also classic tales of heroines opening the gates to social progress by debunking their families’ horrid prejudices when they fall for men outside their race/nationality/religion/species.  (See Pocahontas, South Pacific, Fiddler on the Roof, The Little Mermaid.)  The heroines of Guess Who’s Coming to Dinner and Angst essen Seelen auf stare down the racial tensions of the era in which the films were released.  Meanwhile, Cyrano DeBergerac and the Phantom of the Opera both find out—albeit too late—that their beloveds would have looked past their disfigurement and loved them back. 

Since then, we’ve seen heroines end up with men with disabling injuries (often from war), while a handful go for guys who are congenitally disabled or disfigured.  As noted recently, Peter Dinklage’s romantic roles are possibly, finally breaking dwarf men out of the Friend Zone.  Great art obsesses over the blurry border between right and wrong, friend and lover, beauty and banality.  These compassionate heroines who try to understand the “bad” boys and the rejects help us deepen our perceptions of attractiveness.

It’s worth noting that the Phantom and Cyrano compensate for the supposed repulsiveness of their disfigurement with the sexiness of their genius.  They are supercrips.  Granted Gothic tales love to examine the complexity of blinding light draped in darkness.  I like a study of conflicting traits as much as the next starving liberal arts grad.  But it’s a ludicrously ableist tradition that only gives disabled superheroes a shot at intimacy, restricting ordinary disabled men like Quasimodo or the Seven Dwarfs to the Friend Zone.  And it’s an absurdly lookist tradition that restricts almost all of our disfigured and disabled women there.

Can you name a famous heroine who’s disfigured or physically disabled?  (Can you name a famous actress who’s visibly disabled, for that matter?  I might be able to, but I’d have to check Wikipedia to be sure.)  In the old days, disabled and disfigured girls might arouse sympathy (see Helen Keller), but the women were hags.  Period.  If women who were merely not conventionally attractive ever dared to step out of the Friend Zone and into the dating game, they were annoying.  Really annoying.  And they were swatted away like flies.

Nowadays, love stories try to speak to women’s insecurities about their looks with quirky retellings of the Ugly Duckling or Cinderella.  The heroine perceives herself as unattractive, moaning, “Is it because of my [thighs/eyes/nose]?!”  (Rather than cursing, “That shallow jerk stuck me in the Friend Zone!”)  But we eventually see that she truly is a knock-out and it’s just a matter of finding the right man who will wipe the soot off her face, pay for a makeover, or simply remove her glasses.  Children’s films are getting a little better: Shrek and The Princess and the Frog feature heroines who are green-skinned for part of the courtship, though their Otherness is not quite as realistic as the Phantom’s or Quasimodo’s.  We’ve yet to see a heroine reveal a real-life physical disability and see her hot lover swoon.

And why not?  Francis Bacon said, “There is no exquisite beauty without some strangeness in the proportion.”  I’ve overheard countless guys say, “Chicks dig scars.”  Which is true.  Lots of chicks got scars, too.

The popularity of a story is by no means an empirical examination of our values.  Most people I know are so much deeper than pop culture gives us credit for.  And there is a lot more to many of these stories than the tropes I just reduced them to.  But it would be daft to pretend that they have nothing to do with our collective psyche.  Every one of us treasures those romantic moments we experienced that were “just like in a movie.”  Our most popular books and films simultaneously reflect and influence what we tend to think is hot.  And when it comes to opening our minds, fiction is often the best messenger.  We look to entertainment for escape and to art for enlightenment.  The most powerful stories provide both. 

When I attended a lecture at the Network of Disabled Women in Berlin two weeks ago, there was a debate as to whether reality TV shows and documentaries help or harm perceptions of disabled women.  Good documentaries smash stereotypes by providing facts and figures, but the over-representation of disabled women in such reports combined with their invisibility in love stories, detective stories, and silly sitcoms suggests that they exist solely as objects of study.  They are there to satisfy our curiosity, but we’re rarely asked to root for them the way we root for Rapunzel or Bridget Jones.  We never follow them on a journey dripping with passion.  We should. 

The Oxford English Dictionary’s newborn definition of “Friend Zone” reads: “a situation in which a platonic relationship exists between two people, one of whom has an undeclared romantic or sexual interest in the other.”  It doesn’t say it’s exclusively a problem for men.  And good for them.  To me, the term will always evoke the potentially destructive idea that certain “types” of people don’t ever need or deserve intimacy.  And we’ve got to keep questioning it.  Children, animals, and self-proclaimed asexuals automatically belong in the Friend Zone, along with your clients, patients, and students.  The disabled, the disfigured, the elderly, the ordinary, and the unsuccessful do not automatically belong there.  I’m counting on all of us, the storytellers and the lovers, to recognize the word so that we can recognize the problem.

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