As some of you may know, it’s Simon and Karen’s #1929Club this week, a celebration of books originally published in 1929 – you can find out more about it here. So, for my contribution to the event, I’ve chosen Dorothy Parker’s Big Blonde, an excellent story that traces the sad and unfulfilling life of an ageing good-time girl as she slides into alcoholism and depression. This striking tale highlights how the society of the day made certain assumptions about women based on their appearance and situation; and while things have undoubtedly changed significantly since then, Parker’s story still has a degree of resonance with certain attitudes today.
Central to the story is Hazel Morse, a large, fair-haired woman ‘of the type that incites some men when they use the word ‘blonde’ to click their tongues and wag their heads roguishly’. Hazel is in her twenties when we first meet her, working as a model in a wholesale dress business. Through her work, she has the opportunity to meet various men, many of whom find her attractive and are keen to take her out.
Right from the very start, we see how Hazel is defined by her appearance, especially her blonde hair. Men tend to assume she is a good-time girl, fun and easy-going in company and an all-round ‘good sport’. At first, Hazel responds well to this attention, enjoying her popularity and the various benefits this confers.
Her job was not onerous, and she met numbers of men and spent numbers of evenings with them, laughing at their jokes and telling them she loved their neckties. Men liked her, and she took it for granted that the liking of many men was a desirable thing. Popularity seemed to her to be worth all the work that had to be put into its achievement. Men liked you because you were fun, and when they liked you they took you out, and there you were. So, and successfully, she was fun. She was a good sport. Men liked a good sport. (p. 13-14)
Nevertheless, the situation changes somewhat when she marries Herbie Morse, a ‘quick, attractive man’ with a fondness for drink. With her thirties looming on the horizon, Hazel is keen to settle down to a life of cosy domesticity. Herbie, however, has other ideas, choosing instead to stay out drinking till late at night. Consequently, the couple often argue when Herbie gets home…
She fought him furiously. A terrific domesticity had come upon her, and she would bite and scratch to guard it. She wanted what she called ‘a nice home’. She wanted a sober, tender husband, prompt at dinner, punctual at work. She wanted sweet, comforting evenings. The idea of intimacy with other men was terrible to her; the thought that Herbie might be seeking entertainment in other women set her frantic. (p. 18)
In truth, Herbie still sees Hazel as a specific personality type – a carefree, easy-going blonde who enjoys a bit of fun – rather than an individual with needs and desires of her own. (Significantly, Hazel is referred to as Mrs Morse throughout the story, characterising her identity through her role as a wife.) In particular, Herbie fails to see that Hazel craves some love and affection, especially when she’s feeling low. As such, his tolerance is tested by this change in his wife’s behaviour – as far as Herbie is concerned, Hazel is no longer the good-time girl he signed up for in their marriage, but he makes no attempt to understand her feelings or situation.
With the arguments between the couple becoming increasingly violent, Hazel turns to alcohol herself, drinking during the day as a way of blurring the loneliness and depression – a situation that ultimately ends in the breakdown of the couple’s marriage.
By this point in the story, Hazel is also seeing Ed, a married man she met through her neighbour and daytime drinking partner, Mrs Martin – a forty-something blonde who hosts parties for good-time ‘boys’ in her flat. (In truth, Mrs Martin is essentially Hazel in ten years’ time unless something more hopeful happens to set her life on a different trajectory.)
While Hazel is relatively happy to be Ed’s mistress for a while, their relationship comes to an end when Ed moves to Florida for work. A succession of unsatisfying dalliances swiftly follows as Hazel slips further into depression.
In her haze, she never recalled how men entered her life and left it. There were no surprises. She had no thrill at their advent, nor woe at their departure. (p. 31)
Throughout the story, Parker highlights how the emptiness of Hazel’s life is defined by the roles ‘available’ to her as a (once-)attractive blonde – roles dictated by societal expectations of her gender and physical appearance. As such, she is expected to be (in turn): a fun-loving, good-time single girl who enjoys going out; an easy-going, sociable wife, tolerant of her husband’s failings; and a lively, cheerful mistress who keeps her troubles under wraps. Each of these idealised images contrasts starkly with Hazel’s inner life, which remains largely unfulfilled.
As the years pass by, Hazel sees the long, slow parade of miserable days stretching out ahead of her – the steady succession of men, just like the ones that have come and gone, and the interminable evenings of being ‘a good sport’, largely for their benefit. With a wave of misery sweeping over her, it feels like she is being crushed between ‘great, smooth stones’ as the horror of her situation sets in.
Big Blonde is a quietly devastating story with a distinct air of tragedy. While the reader hopes for a brighter future for Hazel, they fear that she is trapped in a vicious circle with little agency to break free…
Big Blonde is included in the Penguin Modern ‘The Custard Heart’ by Dorothy Parker; personal copy. It’s also available in this lovely Penguin Little Clothbound Classic edition