Former Teenage Girls in Conversation
Marjorie
When I’m not sure where to conduct the interview, Marjorie knows just the place.
I follow her to the library’s computer and video game archive. We sit in a silent room full of comics and game consoles, knees nearly touching. As we talk, Marj flips through graphic novels, fingers brushing over the glossy images, “ooh!”-ing at pieces she recognizes by artists she admires. Among her art school peers, that’s Marj’s identifier: visual narrative is her “thing.” But that hasn’t always been the case. While she took honors art classes in high school and found a safe haven in Mr. Palise’s comic book club, she remembers “really flying under the radar.” She failed to obtain the Best Artist yearbook superlative, peer-chosen labels awarded to a few seniors every year. It’s something she is “still really kind of salty about,” but reflecting back, she admits, “I don’t think that half of my classmates knew I did art in the first place.” It’s what she considers part of her private life as a teenager, something she used as an escape and only shared with her Tumblr followers and a few close friends.
To most of Dearborn High, Marj was a bit of a question mark.
To most of Dearborn High, Marj was a bit of a question mark. “I think people were surprised about me and my friends: that we did anything, or were anything.” Lacking a burning desire for social relevance, she was most comfortable out of the spotlight. Still, she loved theater, and performed with the drama department all four years of high school. While she got along well with her fellow cast members, relating to the theater director was another story. It was here, in her interactions with a trusted adult, that Marj experienced the brunt of her teenage run-ins with fatphobia. “He always cast me as someone’s mother or as someone who was about to die,” she recounts, citing his argument that she could do the “‘straight man’ act” with not-so-subtle incredulity.
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Memories like Marj’s abound in the wider theater community. It seems that every self-identified fat actor has a high school horror story: whether it’s Maggie Rogers being cast as the matronly nurse in Romeo & Juliet or a smaller girl replacing Abigail Mowbray during a choreographed lift in Thoroughly Modern Millie, teenage girls are told that in a sphere where their bodies are their instruments, the instruments they have are faulty. Because of their size, it is assumed that “fat” girls can’t move gracefully, that they can’t keep up with choreography and blocking, or that the amount of space they take up onstage will distract from their character’s story somehow. This blatant discrimination on the basis of practicality (“the costumes we have just won’t fit you”) or aesthetics (“you’ll stick out too much if we cast you in a major role”) exacerbates the already precarious body consciousness of teenage girls, and perpetuates the notion that plus-sized individuals are less capable overall than their thin-privileged peers. Marj found that her acting skills were constantly underestimated, and her theater teacher seemed surprised when she succeeded onstage. “By my senior year, when I auditioned to be in Almost Maine and I did a funny monologue for that, he was sort of shocked that I could do something else, that I could be funny,” she recounts. “He was like, ‘What? You’re really funny!’ and I was like, ‘You could have learned this if you didn’t just see me as the fat woman that you can make dead.’”
Marj often evaded teacher recognition outside the theater as well. “I was spending all this time on these subjects, like I was in marching band and I took lessons—I was doing all this extra stuff to be good at these subjects where I felt like my teachers either constantly overlooked me or were happy to throw me on the fire for somebody else,” she explains, becoming a bit heated as she looks back. “Like, it was only my senior year that I learned that my band teacher thought I was good at flute.” While teachers should strive to discourage bullying and provide a nurturing and equal learning environment for all students, implicit social biases often creep into the classroom in harmful ways. The American Academy of Pediatrics reported in 2017 that “teachers have lower expectations of students with obesity than they have of students without obesity, including expectation of inferior physical, social, and academic abilities.” Compounded with the authority educators hold over their students, teacher weight stigma can be just as cruel and petty as peer ridicule.
Immersing herself in the arts allowed Marj to be defined by more than her outward appearance.
With her artwork, music, and theatrical performances, she could finally feel comfortable taking up space. In the halls of high school, however, she was forced to worry about taking up “too much” room. To avoid drawing attention to herself, she recalls dressing “boyishly” and wearing “untucked graphic tees and bootcut jeans,” a practice developed in childhood as a response to bullying about her size. While she escaped many of the more dire consequences of fat-shaming in early life—which include suicidal thoughts, unhealthy eating behaviors, and a decrease in exercise and physical activity, according to the American Academy of Pediatrics—Marj still experienced a definitive change regarding inner demeanor and outer presentation. “It affected me daily: it affected what I wore, it affected how I was perceived by others… I felt like I was always being overlooked or ignored or hated.”
In some ways, these invasive self-deprecating thoughts and behaviors have stuck. She describes an instance in which she says “goodbye” to friends and they don’t respond, tempting her to jump to conclusions about how much they care for her. “I think of how small I’ve had to be,” she reflects, “or how small I’ve made myself in comparison to other people, either as a coping mechanism or as a ‘fuck you’ to myself.” In order to compensate for her larger physical presence, Marj learned to beat herself down, making herself emotionally and socially smaller. While she often muses about wanting to go “absolutely feral,” Marj exhibits this quiet part of her more often than she’d prefer, admitting, “There are definitely some moments when I’m not capable of being the person I thought I grew out of.”
Still, she is always discovering new ways of allowing herself to take up space.
She’s discovering what clothes make her feel best, and lights up when I ask about her outfit: a purple flannel button-down with jeans and work boots. “I’m dressed like a cowboy and I committed to it with my bolo tie!” she exclaims, gesturing to a bolo tie she made, complete with a ceramic cow charm. “I feel like I’ve been able to express myself in a way that’s more attuned to how I feel.”
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Marj sees this freedom to wear what speaks to her as an outward manifestation of the inner freedom she feels. Sometimes stifled and scared, her unique spark is still brighter than ever. If given a chance to time travel back to her high school years, she says she’d want to “show [her teenage self] what I look like now and to tell her to be fucking free.” After feeling so static in high school, being stagnant for the convenience of people around her, the most important piece of advice she could give her younger self is this: “You’re worth changing, it’s okay to change.”