Periods, Parody, and Polyphony:Fifty Years of Menstrual Education through Fiction and Film Michelle H. Martin (bio) The 1947 commercially sponsored Walt Disney and Kimberly-Clark animated film The Story of Menstruation features the voice of a smooth-sounding adult female who concludes her narrative by recommending year-round fresh air and sunshine.1 She then asserts: The best possible insurance against trouble on those days is healthy living every day. And that's the story. There's nothing strange or mysterious about menstruation. All life is built on cycles, and the menstrual cycle is a normal and natural part of nature's internal plan for passing on the gift of life. Through her sanitized and upbeat representation of menstruation, the narrator ascribes a positive value to a physiological process that has traditionally been stigmatized, while dispelling commonly held myths about menstruation and female hygiene. Forty-five years later, Proctor & Gamble produced a film with the same educational agenda as Kimberly-Clark's The Story of Menstruation, but with a radically different style. Always Changing (1992) features four ethnically diverse girls who face the camera and talk directly to the audience. The Asian-American girl confides, "It's different. I don't know. It doesn't hurt or anything. It just felt . . . damp, like I was leaking a little bit." The European-American girl says, "I started getting some white sticky stuff in my underwear. My mom says it's vaginal discharge. She says that that's a sure sign I'm gonna get my period pretty soon." The Latina complains, "The day I got my first period, my mother made such a big deal out of it. She got all mushy and started going, 'Oh, my baby's becoming a woman. ' It was so embarrassing." And the African-American girl says, "Menstruating. My big sister calls it 'the curse'; I don't want it to happen!" In between the production of these two films, children's authors Louise Fitzhugh and Judy Blume wrote, respectively, The Long Secret (1965) and Are You There, God? It's Me, Margaret (1970), both of which feature menstruation as a theme. Targeting an audience of pre-teen girls more than school boards or parents, these novels thrive on the parodic and the carnivalesque, assigning power to the children within the narratives rather than to adults. Although at least thirteen other novels, twelve other commercially sponsored films, and five other noncommercially sponsored films dealing with menstruation were published between the late 1940s and the mid-1990s, I have chosen these four texts because they have found such a wide audience among American elementary-age children and because they best illustrate the competing and changing ideologies undergirding menstrual education over the past fifty years.2 Mikhail Bakhtin's theory of the medieval grotesque, contained in his study of Rabelais, is particularly relevant to the discussion of menstruation because of its emphasis on change and cycles rather than neoclassic completion, and its inclusion of ambivalent elements, which here we might modify to include those we associate specifically with puberty: joy and fear; pleasure and pain; birth and death of life stages and of the ovum; the romanticized or eroticized nude body and the body with effluvia, the body where the world's life, death, and regeneration take place. Through "the mighty thrust downward into the bowels of the earth, into the depths of the human body," conversations are brought out of the cerebral and into the realm of the burlesque and the grotesque, in which physicality is privileged. Only here, according to Bakhtin, can humans find "true wealth and abundance" (Rabelais 369-70); since the experiences that all of us share are associated with the body's "depths," when we communicate at this basic level human inequalities are expunged, enabling dialogue and communication to take place. While one might expect that all films designed to educate young women on menstruation and physical changes during puberty would include these grotesque elements and advance a body-affirming ideology, an analysis of The Story of Menstruation and Always Changing reveals that these ideas are not always evident in menstrual films, a circumstance that helps to illuminate the different attitudes toward...