Showing 41 - 48 of 48 annotations tagged with the keyword "Obesity"
Laurence "Tubby" Passmore is a successful scriptwriter for a television sitcom, in his mid-fifties, married and the father of two grown children. He is indecisive and inexplicably depressed, unhappy with himself, his fat body, bald head, wonky knee, and impending impotence. At least, he is confident in his marriage to Sally, an attractive, self-made academic who enjoys sex; on weekly jaunts to London, he maintains a supportive but platonic relationship with the earthy Amy.
Seeking to alleviate his woes, he dabbles in acupuncture and aromatherapy and regularly attends a blind physiotherapist and a woman psychiatrist; the latter counsels him to write a journal. His wife suddenly announces her wish for a divorce and the television network invokes a contractual obligation to make unwelcome demands on his skills. These events shatter his unappreciated but complacent "angst" and deepen his identity crisis.
Laurence scrambles to rediscover himself. He reads the gloomy, Kierkegaard--because he identified with the titles--and he travels to the existentialist's Copenhagen. He pushes the boundaries of his relationship with Amy in a maudlin trip to Tenerife. He befriends a philosophic squatter, called "Grahame" (with an "e" no doubt to distinguish him from Graham Green whose "writing is a form of therapy" is an epigraph to this book). He flies wildly off to Los Angeles hoping to rekindle a one-night stand "manqué." Finally he recalls and tracks the Irish Catholic, Maureen, his first girlfriend from forty years before. Maureen has suffered too--the death of her son and breast cancer; he finds her on the Road to Compostella.
Ruthie is a thirty five year old overweight mother of two married to Ruben. Ever since her marriage, she has experienced pain with intercourse. She feels like an odd contradiction, with too much flesh and too narrow a vaginal opening, able to experience childbirth but not intercourse. She has read books about pain with intercourse, has tried lubrication, like her doctor recommended, but still the pain continues. She cannot imagine painless intercourse without completely leaving her body and wonders if she would ever get it back afterward.
She imagines what her life would be like if intercourse didn't hurt, how she would be fearless, attractive, sexual; how her husband would no longer turn away from her with indifference. As long as sex is painful, her life is concrete, full of duty and care. She imagines that without pain she would transcend this drudgery, even transcend her husband, and enter an ethereal world which centers around her.
An obese woman describes the advantages of being obese.
She is a fortress, strong, implacable, self sufficient, impervious to famine and weakness. She is a goddess, powerful, with the ability to crush anyone who does not take her seriously. Underlying the strong language of this poem is the reality of this woman's isolation. She is isolated from men and women alike, so afraid of being harmed by others that she chooses to be so threatening that no one will come near her. Her source of power is also her source of pain.
Summary:The Stone Diaries recount the life of Daisy Goodwill (1905-199? [sic]). "[W]ife, mother, citizen of our century," her son closes the benediction of her memorial service. Yet Daisy is also the orphaned daughter of an orphan--her dramatic birth a turning point for her father, the neighbours--and a social outcast. Daisy becomes a happy child, a lifelong friend, a college graduate, a consummate gardener, a cultivator of stories, a pragmatist, a romantic, a widow twice (once scandalously, once more ordinarily) . . . . In short, the diaries of "Day's Eye" bear witness to the extraordinary lives of seemingly ordinary "citizens."
Summary:Here is an account of a few years in the life of Quoyle, born in Brooklyn and raised in a shuffle of dreary upstate towns, where the novel begins. In these few years Quoyle metamorphoses from the human equivalent of a Flemish flake--a one layer spiral coil of rope that may be walked on if necessary--to a multi-layered presence with the capacity for constantly renewed purpose and connection. Grief, love, work, friendship, family, necessity, and community effect this transformation, as does Quoyle’s ancestral home of Newfoundland, a place of beauty and hardship, of memory and reverie.
Summary:The narrator starts out at 300 plus pounds (disgusted with herself and remote from her husband). She takes swimming lessons and gradually acquires confidence in herself as she loses weight and inches. She sometimes refuses sex with her husband, starts to stand up for herself. But her swimming and diet become obsessive; she continues to lose weight and wants to disappear.
The poem says fat girls don’t dream they are Marilyn Monroe; instead their dreams are "much smaller: a dance with a man not a blind drunk, a folding chair that won’t cringe . . . . " Or perhaps they can step "into the arms of a man with Ruben’s eyes."