Skip to content, or skip to search.

Memoirs of a Non-Prom Queen

Originally published in Rolling Stone, August 1976; excerpted from The Essential Ellen Willis, out this week from the University of Minnesota Press.

There’s a book out called Is There Life after High School? It’s a fairly silly book, maybe because the subject matter is the kind that only hurts when you think. Its thesis—that most people never get over the social triumphs or humiliations of high school—is not novel. Still, I read it with the respectful attention a serious hypochondriac accords the lowliest “dear doctor” column. I don’t know about most people, but for me, forgiving my parents for real and imagined derelictions has been easy compared to forgiving myself for being a teenage reject.

Victims of high school trauma—which seems to have afflicted a disproportionate number of writers, including Ralph Keyes, the author of this book—tend to embrace the ugly duckling myth of adolescent social relations: the “innies” (Keyes’s term) are good-looking, athletic mediocrities who will never amount to much, while the “outies” are intelligent, sensitive, creative individuals who will do great things in an effort to make up for their early defeats. Keyes is partial to this myth. He has fun with celebrity anecdotes: Kurt Vonnegut receiving a body-building course as a “gag prize” at a dance; Frank Zappa yelling “fuck you” at a cheerleader; Mike Nichols, as a nightclub comedian, insulting a fan—an erstwhile overbearing classmate turned used-car salesman. In contrast, the ex–prom queens and kings he interviews slink through life, hiding their pasts lest someone call them “dumb jock” or “cheerleader type,” perpetually wondering what to do for an encore.

If only it were that simple. There may really be high schools where life approximates an Archie comic, but even in the Fifties, my large (5,000 students), semisuburban (Queens, New York), heterogeneous high school was not one of them. The students’ social life was fragmented along ethnic and class lines; there was no universally recognized, schoolwide social hierarchy. Being an athlete or a cheerleader or a student officer didn’t mean much. Belonging to an illegal sorority or fraternity meant more, at least in some circles, but many socially active students chose not to join. The most popular kids were not necessarily the best looking or the best dressed or the most snobbish or the least studious. In retrospect, it seems to me that they were popular for much more honorable reasons. They were attuned to other people, aware of subtle social nuances. They projected an inviting sexual warmth. Far from being slavish followers of fashion, they were self-confident enough to set fashions. They suggested, initiated, led. Above all—this was their main appeal for me—they knew how to have a good time.

True, it was not particularly sophisticated enjoyment—dancing, pizza eating, hand holding in the lunchroom, the usual. I had friends—precocious intellectuals and bohemians—who were consciously alienated from what they saw as all that teenage crap. Part of me identified with them, yet I badly wanted what they rejected. Their seriousness engaged my mind, but my romantic and sexual fantasies, and my emotions generally, were obsessively fixed on the parties and dances I wasn’t invited to, the boys I never dated. I suppose what says it best is that my “serious” friends hated rock & roll; I loved it.

If I can’t rationalize my social ineptitude as intellectual rebellion, neither can I blame it on political consciousness. Feminism has inspired a variation of the ugly duckling myth in which high school wallflower becomes feminist heroine, suffering because she has too much integrity to suck up to boys by playing a phony feminine role. There is a tempting grain of truth in this idea. Certainly the self-absorption, anxiety and physical and social awkwardness that made me a difficult teenager were not unrelated to my ambivalent awareness of women’s oppression. I couldn’t charm boys because I feared and resented them and their power over my life; I couldn’t be sexy because I saw sex as a mine field of conflicting, confusing rules that gave them every advantage. I had no sense of what might make me attractive, a lack I’m sure involved unconscious resistance to the game girls were supposed to play (particularly all the rigmarole surrounding clothes, hair and cosmetics); I was a clumsy dancer because I could never follow the boy’s lead.

Yet ultimately this rationale misses the point. As I’ve learned from comparing notes with lots of women, the popular girls were in fact much more in touch with the reality of the female condition than I was. They knew exactly what they had to do for the rewards they wanted, while I did a lot of what feminist organizers call denying the awful truth. I was a bit schizy. Desperate to win the game but unwilling to learn it or even face my feelings about it, I couldn’t really play, except in fantasy; paradoxically, I was consumed by it much more thoroughly than the girls who played and played well. Knowing what they wanted and how to get it, they preserved their sense of self, however compromised, while I lost mine. Which is why they were not simply better game players but genuinely more likable than I.

The ugly duckling myth is sentimental. It may soothe the memory of social rejection, but it falsifies the experience, evades its cruelty and uselessness. High school permanently damaged my self-esteem. I learned what it meant to be impotent; what it meant to be invisible. None of this improved my character, spurred my ambition, or gave me a deeper understanding of life. I know people who were popular in high school who later became serious intellectuals, radicals, artists, even journalists. I regret not being one of those people. To see my failure as morally or politically superior to their success would be to indulge in a version of the Laingian fallacy—that because a destructive society drives people crazy, there is something dishonorable about managing to stay sane.

Photo: Courtesy of University of Minnesota Press

Copyright © 2013, New York Media LLC. All Rights Reserved. The Cut® are registered trademarks of New York Media LLC.

Copyright © 2013, New York Media LLC.
All Rights Reserved.

Copyright © 2013, New York Media LLC. All Rights Reserved.

Connections

Critics’ Pick
Show More
Label
Season
Model:
% Agree

Sponsored Message

More Celebrity Lookbooks

Close

    Sponsored Message Continue