Introduction
Active pursuit of one’s dreams is often deemed as an admirable and even expected attitude needed to be adopted to become a respectable member of a community. However, for the disjointed and disarrayed era of the post-war U.S., with its aggressive reinforcement of the social status quo and gender roles, the pursuit of socially enforced standards turns out to be a detrimental endeavor for the protagonists of Jacqueline Susann’s novel, “Valley of Dolls.” The book tells the stories of Anne Welles, a secretary, Neely O’Hara, an aspiring Broadway star, and Jennifer North, a young actress. The three befriend one another as they pursue their careers in New York. Though deemed to be the land of opportunity, the 1940s New York environment and the harsh setting of rigid stereotypes and prejudices create multiple challenges for each of the protagonists, setting barriers that are exceptionally hard to overcome, from abusive relationships to the trap of drug misuse, namely, the eponymous “dolls” (Susann, 1996, p. 476). As the novel ends, only one of the characters, namely, Anne, gains some semblance of an opportunity to overcome the challenges, yet eventually succumbs to the use of “dolls” again.
Analysis
The novel addresses complex sociocultural issues that might seem specific to the time period in question yet, in fact, remain consistently timeless. Namely, the concept of perfection and the necessity to meet the highest standard as the ultimate yet unattainable goal is introduced throughout the novel as the one that is foisted upon women by society. The unachievable beauty standards, which haunt Jennifer and Neely as active participants in the entertainment industry represent some of the most obvious ones. For instance, the awe with which the beauty of a young actress is perceived represents an immediate fascination with looks that will inevitably fade away: “It was an innocent face, a face that looked at everything with breathless excitement and trusting enthusiasm, seemingly unaware of the commotion the body was causing” (Susann, 1996, p. 124). Thus, Susann (1966) introduces a rather depressing idea of the futility of women’s efforts to address the suffocating environment of the patriarchy on their own.
Moreover, the book portrays the collision of the protagonists’ naïve dreams and aspirations with harsh, cold reality. The juxtaposition of the expectations of the main characters, who initially view the landscape of opportunities through rose-colored glasses, and the underlying trappings of the lives that they seek is truly staggering. The dramatic experience of social injustice is revealed in the specified statement: “Money bought freedom; without it, one could never be free” (Susann, 1996, p. 297). The notion that everything and everyone can have a price sticker on it in the realm of the entertainment industry, as well as the fact that hard work is not necessarily rewarded accordingly, are some of the harshest yet inevitable lessons that young women learn. However, most importantly and most disappointingly, it is revealed to them that they are restricted by the impact of insipid sex-based oppression permeating every aspect of their lives. The problem of gender stereotypes and the associated restrictions placed on women solely on the merits of their sex is reiterated and emphasized profusely in the novel, pointing to the fact that the problem is truly ubiquitous.
Conclusion
Though the novel introduces some modicum of hope as one of the protagonists retains hope, her eventual resort to the use of drugs shatters it completely. Thus, the author sends a rather morbid yet important message of being wary of the trappings of adult life. Specifically, Susann (1966) outlines the problems of misogyny and the stereotypes associated with gender roles enforced within the patriarchal system. While the infamous dolls, or drugs, serve as the material representation of societal issues, the underlying misconceptions and problems are represented through the character’s interactions with the broader New York community.
Reference
Susann, J. (1966). Valley of dolls. Bernard Geis Associates.