Girls Frontline Quotes

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But it is Bella, not the supernaturals she falls in with, who is the true horror show here, at least as a female role model.
Peggy Orenstein (Cinderella Ate My Daughter: Dispatches from the Frontlines of the New Girlie-Girl Culture)
It is only through my daughter that I have come to realise that a life without femininity – devoid of mystery, emotion, gentleness and the unerring power of a woman’s love – is no life at all.
Antonella Gambotto-Burke (Mama: Dispatches from the Frontline of Love)
There is only one princess in the Disney tales, one girl who gets to be exalted. Princesses may confide in a sympathetic mouse or teacup, but they do not have girlfriends. God forbid Snow White should give Sleeping Beauty a little support. Let's review: princesses avoid female bonding. Their goals are to be saved by a prince, get married, and be taken care of the rest of their lives.
Peggy Orenstein (Cinderella Ate My Daughter: Dispatches from the Frontlines of the New Girlie-Girl Culture)
American Psychological Association, the girlie-girl culture’s emphasis on beauty and play-sexiness can increase girls’ vulnerability to the pitfalls that most concern parents: depression, eating disorders, distorted body image, risky sexual behavior.
Peggy Orenstein (Cinderella Ate My Daughter: Dispatches from the Frontlines of the New Girlie-Girl Culture)
How about this, I would counter: try not commenting on your own looks—on the size of your thighs or the tightness of your jeans. At least not in front of your daughter. Girls receive enough messages every day reducing them to their appearance without women they love delivering them, too.
Peggy Orenstein (Cinderella Ate My Daughter: Dispatches from the Frontlines of the New Girlie-Girl Culture)
Let me be clear here: I object—strenuously—to the sexualization of girls but not necessarily to girls having sex. I expect and want my daughter to have a healthy, joyous erotic life before marriage. Long, long, long before marriage. I do, however, want her to understand why she’s doing it: not for someone else’s enjoyment, not to keep a boyfriend from leaving, not because everyone else is. I want her to do it for herself. I want her to explore and understand her body’s responses, her own pleasure, her own desire. I want her to be able to express her needs in relationship, to say no when she needs to, to value reciprocity, and to experience true intimacy.
Peggy Orenstein (Cinderella Ate My Daughter: Dispatches from the Frontlines of the New Girlie-Girl Culture)
...princess play feels like proof of our daughters' innocence, protection against the sexualization it may actually be courting. It reassures us that, despite the pressure to be precocious, little girls are still -- and ever will be -- little girls. And that knowledge restores our faith not only in wonder but, quite possibly, in goodness itself.
Peggy Orenstein (Cinderella Ate My Daughter: Dispatches from the Frontlines of the New Girlie-Girl Culture)
There is, it’s worth noting, no “Mom-with-three-ungrateful-children Barbie.
Peggy Orenstein (Cinderella Ate My Daughter: Dispatches from the Frontlines of the New Girlie-Girl Culture)
But I am a girl with a keen interest in having it all, and what follows are hopeful dispatches from the frontlines of that struggle.
Lena Dunham (Not That Kind of Girl: A Young Woman Tells You What She's "Learned")
Although my body and I have reached if not peace, at least a state of détente, “fat” remains how I experience anger, dissatisfaction, disappointment. I feel “fat” if I can’t master a task at work. I feel “fat” if I can’t please those I love. “Fat” is how I blame myself for my failures. “Fat” is how I express my anxieties. A psychologist once told me, “Fat is not a feeling.” If only it were that simple. As for so many women, the pathology of self-loathing is permanently ingrained in me. I can give in to it, I can modify it, I can react against it with practiced self-acceptance, but I cannot eradicate it. It frustrates me to consider what else I might have done with the years of mental energy I have wasted on this single, senseless issue.
Peggy Orenstein (Cinderella Ate My Daughter: Dispatches from the Frontlines of the New Girlie-Girl Culture)
They too struggle with the expectation to look sexy but not to feel sexual, to provoke desire in others without experience it themselves. Our daughters may not be faced with the decision of whether to strip for maxim, but they will have to figure out how to become sexual beings without being objectified or stigmatized.
Peggy Orenstein (Cinderella Ate My Daughter: Dispatches from the Frontlines of the New Girlie-Girl Culture)
You’re beautiful’ is not something you want to say over and over to your daughter, because it’s not something that you want her to think is so important. “That said,” she continued, “there are times when it is important to say it: when she’s messy or sweaty, when she’s not dressed up, so that she gets a sense that there is something naturally beautiful about her as a person. And it’s also important to connect beauty and love. To say, ‘I love you so much. Everything about you is beautiful to me—you are beautiful to me.’ That way you’re not just objectifying her body.
Peggy Orenstein (Cinderella Ate My Daughter: Dispatches from the Frontlines of the New Girlie-Girl Culture)
That said, pointing out inaccurate or unrealistic portrayals of women to younger grade school children-ages five to eight-does seem to be effective, when done judiciously:taking to little girls about body image and dieting, for example, can actually introduce them to disordered behavior rather than inoculating them against it. I may be taking a bit of a leap here, but to me all this indicated that if you are creeped out about the characters fromMonster High, it is fine to keep them out of your house.
Peggy Orenstein (Cinderella Ate My Daughter: Dispatches from the Frontlines of the New Girlie-Girl Culture)
Children weren’t color-coded at all until the early twentieth century: in the era before Maytag, all babies wore white as a practical matter, since the only way of getting clothes clean was to boil them. What’s more, both boys and girls wore what were thought of as gender-neutral dresses. When nursery colors were introduced, pink was actually considered the more masculine hue, a pastel version of red, which was associated with strength. Blue, with its intimations of the Virgin Mary, constancy, and faithfulness, symbolized femininity.
Peggy Orenstein (Cinderella Ate My Daughter: Dispatches from the Frontlines of the New Girlie-Girl Culture)
at best, young children who are drilled on letters and numbers show no later advantage compared with those in play-based programs. In some cases, by high school their outcomes are worse. That inappropriately early pressure seems to destroy the interest and joy in learning that would naturally develop a few years later.
Peggy Orenstein (Cinderella Ate My Daughter: Dispatches from the Frontlines of the New Girlie-Girl Culture)
Rather than freedom from traditional constraints, then, girls were free to "choose" them. Yet, the line between "get to" and "have to" blurs awfully fast.
Peggy Orenstein (Cinderella Ate My Daughter: Dispatches from the Frontlines of the New Girlie-Girl Culture)
If we start with that, with wanting girls to see themselves from the inside out rather than outside in , we will go a long way toward helping them find their true happily-ever-afters.
Peggy Orenstein (Cinderella Ate My Daughter: Dispatches from the Frontlines of the New Girlie-Girl Culture)
i get why manufacturers play to pink- it makes good business sense. A marketing executive i spoke with at LeapFrog which is based in Emeryville, California, told me that her company even had a name for it> the pink factor. If you make a pink baseball bat, parents will buy one for their daughter, she explained. then if they subsequently have a son, they'll have to buy a second bat in a different color. Or, if they have a boy first and then a daughter, they'll want to buy a pink one for their precious little girl. Either way, you double the sales.
Peggy Orenstein (Cinderella Ate My Daughter: Dispatches from the Frontlines of the New Girlie-Girl Culture)
She is so good, your wife.” “Yes,” said Alexander. “So fresh and young. So lovely to look at.” “Yes,” said Alexander, closing his eyes. “And she doesn’t yell at you.” “No. Though I reckon she sometimes wants to.” “Oh, to have such restraint in my Bessie. She used to be a fine woman. And the girl was such a loving girl.” More drink, more smoke. “But have you noticed since coming back,” said Nick, “that there are things that women just don’t know? Won’t know. They don’t understand what it was like. They see me like this, they think this is the worst. They don’t know. That’s the chasm. You go through something that changes you. You see things you can’t unsee. Then you are sleepwalking through your actual life, shell-shocked. Do you know, when I think of myself, I have legs? In my dreams I’m always marching. And when I wake up, I’m on the floor, I’ve fallen out of bed. I now sleep on the floor because I kept rolling over and falling while dreaming. When I dream of myself, I’m carrying my weapons, and I’m in the back of a battalion. I’m in a tank, I’m yelling, I’m always screaming in my dreams. This way! That way! Fire! Cease! Forward! March! Fire, fire, fire!” Alexander lowered his head, his arms drooping on the table. “I wake up and I don’t know where I am. And Bessie is saying, what’s the matter? You’re not paying attention to me. You haven’t said anything about my new dress. You end up living with someone who cooks your food for you and who used to open her legs for you, but you don’t know them at all. You don’t understand them, nor they you. You’re two strangers thrown together. In my dreams, with legs, after marching, I’m always leaving, wandering off, long gone. I don’t know where I am but I’m never here, never with them. Is it like that with you, too?” Alexander quietly smoked, downing another glass of whiskey, and another. “No,” he finally said. “My wife and I have the opposite problem. She carried weapons and shot at men who came to kill her. She was in hospitals, on battlefields, on frontlines. She was in DP camps and concentration camps. She starved through a frozen, blockaded city. She lost everyone she ever loved.” Alexander took half a glass of sour mash into his throat and still couldn’t keep himself from groaning. “She knows, sees, and understands everything. Perhaps less now, but that’s my fault. I haven’t been much of a—” he broke off. “Much of anything. Our problem isn’t that we don’t understand each other. Our problem is that we do. We can’t look at each other, can’t speak one innocent word, can’t touch each other without touching the cross on our backs. There is simply never any peace.” Another stiff drink went into Alexander’s throat.
Paullina Simons (The Summer Garden (The Bronze Horseman, #3))
In his memoirs the author Roald Dahl, who took part in the invasion as a Hurricane pilot, confirmed the impression that the Vichy French were unprepared. Sent to strafe the Vichy aerodrome at Rayak, he recalled, on his first low pass over the landing strip, being astonished to see ‘a bunch of girls in brightly coloured cotton dresses standing out by the planes with glasses in their hands having drinks with the French pilots, and I remember bottles of wine standing on the wing of one of the planes as we went swooshing over’.19 It was a Sunday morning and ‘the Frenchmen were evidently entertaining their girlfriends and showing off their aircraft to them, which was a very French thing to do in the middle of a war at a front-line aerodrome. Every one of us held our fire on that first pass over the flying field and it was wonderfully comical to see the girls all dropping their wine glasses and galloping in their high heels for the door of the nearest building . . . we destroyed five of their planes on the ground.’ But the hope
James Barr (A Line in the Sand: Britain, France and the struggle that shaped the Middle East)
I’d believed I could keep out the tales and the toys but had failed on both counts.
Peggy Orenstein (Cinderella Ate My Daughter: Dispatches from the Frontlines of the New Girlie-Girl Culture)
Children weren’t color-coded at all until the early twentieth century: in the era before Maytag, all babies wore white as a practical matter, since the only way of getting clothes clean was to boil them. What’s more, both boys and girls wore what were thought of as gender-neutral dresses. When nursery colors were introduced, pink was actually considered the more masculine hue, a pastel version of red, which was associated with strength. Blue, with its intimations of the Virgin Mary, constancy, and faithfulness, symbolized femininity. (That
Peggy Orenstein (Cinderella Ate My Daughter: Dispatches from the Frontlines of the New Girlie-Girl Culture)
Children as young as twelve to eighteen months can recognize brands, it went on, and are “strongly influenced” by advertising and marketing. Yikes!
Peggy Orenstein (Cinderella Ate My Daughter: Dispatches from the Frontlines of the New Girlie-Girl Culture)
Bermuda law required that the owner of the new company’s stock be a qualified tax-exempt entity. Fortunately, Morgan Stanley discovered The Capital Trust, a Bermuda charitable trust whose beneficiaries were the Bermuda High School for Girls, Saltus Grammar School, Lady Cubitt Compassionate Association, and the Bermuda Foundation. Morgan Stanley, through its investors, would give the charitable trust the $12,000 required to purchase the company’s stock. Finally, the newly formed company had to obtain the permission of the Bermuda Monetary Authority to issue $1.5 billion of bonds backed by the Ajustabonos. The $12,000 stock had been created merely to satisfy a Bermuda technicality. It was this company’s new bonds, not the stock, that Morgan Stanley was planning to sell to investors. To get permission for the company to issue these bonds, Morgan Stanley—again through its investors—had to commit to pay $1,600 per year to the Bermuda government. From an outsider’s perspective, these payments looked like kickbacks. Overall, Morgan Stanley’s actions were barely distinguishable from those of a drug kingpin seeking an appropriate tax haven to launder money. In fact, later that year the PBS television show Frontline would expose the use of off-shore tax havens by both money launderers and Wall Street alike. (I discussed the show with Scarecrow, who said he was flattered by the comparison.)
Frank Partnoy (FIASCO: Blood in the Water on Wall Street)
And that—Bella’s overweening blandness—as much as the guilty-pleasure rescue fantasy, may explain the series’ appeal: Twilight’s heroine is so insipid, so ordinary, so clumsy, so Not Hot. Isn’t that great? Think about it: what a relief that must be for girls who feel constant pressure to be physically, socially, and academically perfect! Bella does not spend two hours with a flatiron, ace her calculus test, score the winning goal in her lacrosse match, then record a hit song. Bella does not spout acidly witty dialogue. Bella does not wear $200 jeans on her effortlessly slim hips.
Peggy Orenstein (Cinderella Ate My Daughter: Dispatches from the Frontlines of the New Girlie-Girl Culture)
No, I am not a sexpert, a psychologist, or a dietitian. I am not a mother of three or the owner of a successful hosiery franchise. But I am a girl with a keen interest in having it all, and what follows are hopeful dispatches from the frontlines of that struggle.
Lena Dunham (Not That Kind of Girl: A Young Woman Tells You What She's "Learned")
A headline-grabbing 2005 British study revealed that girls aged six to twelve enjoyed torturing, mutilating, and microwaving their Barbies nearly as much as they liked dressing them up for the prom. What
Peggy Orenstein (Cinderella Ate My Daughter: Dispatches from the Frontlines of the New Girlie-Girl Culture)
If toting the standard equipment is not what male or female, exactly what does? well, duh, its barrettes. At least thats what kids think it is your clothing, hairstyle, toy choice, favorite color. Slippery stuff, that. You can see how perilously easy would be to err
Peggy Orenstein (Cinderella Ate My Daughter: Dispatches from the Frontlines of the New Girlie-Girl Culture)
To bring home the point, she compared New Years resolutions of girls at the end of the nineteenth centyry with those at the end of the twentieth. Heres what a young woman of yore wrote: Resolved: to think before speaking. To work seriously. To be self-restrained in conversations and actions. Not to let my thoughts wander. To be dignified. Interest myself more in others. And the contemporary girl: I will try to make myself better in any way i possibly can.... I will lose weight, get new lenses, already got new haircut, good makeup, new clothes and accessories.
Peggy Orenstein (Cinderella Ate My Daughter: Dispatches from the Frontlines of the New Girlie-Girl Culture)
I know that if i could imbue her with a superpower, it would be the ability to withstand the pressures of the cultures around her, to be her own woman despite the potential costs: i would give her the courage of her convictions
Peggy Orenstein (Cinderella Ate My Daughter: Dispatches from the Frontlines of the New Girlie-Girl Culture)
Maybe tangled will be a spectacular rump. maybe i will adore it: it could happen. But one thing is for sure: tangled will not be rapunzel. And thats too bad , because rapunzel is an specially layered and relevant fairytale, less about the love between a man and a woman than the misguided attempts of a mother trying to protect her daughter from (what she perceives ) as the worlds evils. The tale, you may recall, begins with a mother-to-bes yearning for the taste of rapunzel, a salad green she spies growing in the garden of the sorceress who happens to live next door. The womans craving becomes so intense , she tells her husband that if he doesn't fetch her some, she and their unborn baby will die. So he steals into the baby's yard, wraps his hands around a plant, and, just as he pulls... she appears in a fury. The two eventually strike a bargain: the mans wife can have as much of the plant as she wants- if she turns over her baby to the witch upon its birth. `i will take care for it like a mother,` the sorceress croons (as if that makes it all right). Then again , who would you rather have as a mom: the woman who would do anything for you or the one who would swap you in a New York minute for a bowl of lettuce? Rapunzel grows up, her hair grows down, and when she is twelve-note that age-Old Mother Gothel , as she calls the witch. leads her into the woods, locking her in a high tower which offers no escape and no entry except by scaling the girls flowing tresses. One day, a prince passes by and , on overhearing Rapunzel singing, falls immediately in love (that makes Rapunzel the inverse of Ariel- she is loved sight unseen because of her voice) . He shinnies up her hair to say hello and , depending on the version you read, they have a chaste little chat or get busy conceiving twins. Either way, when their tryst is discovered, Old Mother Gothel cries, `you wicked child! i thought i had separated you from the world, and yet you deceived me!` There you have it : the Grimm`s warning to parents , centuries before psychologists would come along with their studies and measurements, against undue restriction . Interestingly the prince cant save Rapuzel from her foster mothers wrath. When he sees the witch at the top of the now-severed braids, he jumps back in surprise and is blinded by the bramble that breaks his fall. He wanders the countryside for an unspecified time, living on roots and berries, until he accidentally stumbles upon his love. She weeps into his sightless eyes, restoring his vision , and - voila!- they rescue each other . `Rapunzel` then, wins the prize for the most egalitarian romance, but that its not its only distinction: it is the only well-known tale in which the villain is neither maimed nor killed. No red-hot shoes are welded to the witch`s feet . Her eyes are not pecked out. Her limbs are not lashed to four horses who speed off in different directions. She is not burned at the stake. Why such leniency? perhaps because she is not, in the end, really evil- she simply loves too much. What mother has not, from time to time, felt the urge to protect her daughter by locking her in a tower? Who among us doesn't have a tiny bit of trouble letting our children go? if the hazel branch is the mother i aspire to be, then Old Mother Gothel is my cautionary tale: she reminds us that our role is not to keep the world at bay but to prepare our daughters so they can thrive within it. That involves staying close but not crowding them, standing firm in one`s values while remaining flexible. The path to womanhood is strewn with enchantment , but it also rifle with thickets and thorns and a big bad culture that threatens to consume them even as they consume it. The good news is the choices we make for our toodles can influence how they navigate it as teens. I`m not saying that we can, or will, do everything `right,` only that there is power-magic-in awareness.
Peggy Orenstein (Cinderella Ate My Daughter: Dispatches from the Frontlines of the New Girlie-Girl Culture)
When you're talking about over 26,000 items - and that's just Disney - it's a little hard to say where "want" ends and "coercion" begins.
Peggy Orenstein (Cinderella Ate My Daughter: Dispatches from the Frontlines of the New Girlie-Girl Culture)