This book's provocative title promises a lot more than it delivers. Ostensibly a gathering of alternative play uses of Barbie, primarily from the sexual counterculture, the first half of the book is merely a history of the Barbie phenomenon through a feminist prism; this is far from new territory. The second half of the book comes closer to following the book's stated premise, but it also contains too much authorial voice, disintegrating at times to a kind of Facebook page from hell wherein the author overshares her tastes in television and music as well as bewailing the public's inability to grasp the gravity of her Barbie research and criticizing her own unwillingness to follow her evidence where she suspects that it leads. She also openly, and inappropriately for scholarship, advocates for enacting her socio-political agenda. Depending on your point of view, it's either very easy or very difficult to draw conclusions from her narrators; there are few real patterns to what they tell her, unless that they are usually ambivalent, ambiguous, and meandering. This book is clearly written, especially by sociology standards, short, and entertaining, and those merits are not to be scorned. However, a university press shouldn't be too proud of having issued this mishmash under its imprint.