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Today’s episode tells the secret, forgotten, and highly disputed story of the making of arguably the most potent Hollywood sex symbol of all time. In the 1950s, Marilyn Monroe embodied a male fantasy of a woman who gave freely of herself, particularly of her body, and asked for nothing in return. Her blonde bombshell persona, “dumb” but also often touchingly vulnerable, would seem to be the exact opposite of the pragmatic femininity of the World War II era epitomized by women’s films stars like Bette Davis and “we can do it!” sloganeer Rosie the Riveter. But in fact, before she was famous,Marilyn Monroe was Rosie the Riveter: at age 18, with her husband off in the Merchant Marines, Monroe went to work at an airplane parts factory. And it was there that she was discovered, thanks (in a roundabout way) to Ronald Reagan. In this episode, we’ll explore how Marilyn became Marilyn, by tracing the former Norma Jean Baker from her troubled childhood through the war years, her early struggles to get a foothold in Hollywood, and the nude photo scandal which cemented her stardom. We’ll see how the future Marilyn’s experiences mirrored those of other American woman, and the culture at large, in the post-war decade, and we’ll see how her projection of vulnerability and even victimhood would ultimately have radical implications.
Like many women, I suspect, I’ve been studying MarilynMonroe my entire life, both accidentally and on purpose. I’ve read tons about her over the years — and if you haven’t and are looking for a place to start, I would recommend All of the Available Light: A MarilynMonroe Reader — but I had never focused specifically on her pre-fame years. Knowing I would never be able to read or reread all of the writings on Monroe in the limited time I had for researching this episode, I decided to focus on two books published within a couple of years of one another, both of which purported to offer fresh analysis of the pre-Marilyn years of Norma Jeane, and neither of which I had read before.
As a feminist reconsideration of Monroe’s personal story and legacy, I found Gloria Steinem’s Marilyn to be important, and even inspiring. It does, however, gloss over some of the details of this period inMonroe’s life, a flaw you won’t find in Donald Spoto’s MarilynMonroe: The Biography. However, if Steinem’s book is transparent about looking atMarilyn through feminism-tinted glasses, Spoto’s slants are, far less explicitly, and for lack of a better word, anti-feminist. Spoto is a generally well-respected biographer and even those who call into question some of his assertions in this book agree that it’s one of the most serious biographies of his subject. But the fact remains that anyone who writes about MarilynMonroe can only cherry pick amongst the scraps of biographical information left behind, and it seems like many of her observers choose what they want to choose to constitute evidence of the “real Marilyn” versus her sex goddess persona. There are traps within Marilyn scholarship, particularly in terms of her sexual history and appetites, which Spoto didn’t invent or end, but which he does occasionally fall into. But, you know, there but for the grace of etc etc..
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