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27 pages 54 minutes read

Andre Dubus II

The Fat Girl

Fiction | Short Story | Adult | Published in 1977

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Literary Devices

Figurative Language

Figurative language, particularly metaphors, is used throughout the text to describe how Louise is feeling. Figurative language allows authors to communicate truths or emotions that are not as easily expressed in literal terms. For example, Louise feels like her soul is in “some rootless flight” and that her hunger-induced ill temper is a demon taking possession of her soul (166). Additionally, she feels she is becoming a citizen of a new country when her mother treats her differently as a thin woman. Similes—comparisons that use “like” or “as”—also describe Louise’s emotions, such as when she feels “as if she were trying to tell a foreign lover about the United States” while talking to Richard about how she used to be fat (169). Notably, these examples of figurative language center around Louise’s emotions while she is trying to be someone she is not, hinting that she must grasp for metaphors to describe a fundamentally alien state of existence.

Dialogue Without Quotation Marks

Quotation marks are typically used to indicate dialogue, and they do so throughout much of “The Fat Girl.” However, when Louise’s mother speaks, Dubus generally does not use quotation marks. The dialogue instead flows into the rest of the text: “It started when Louise was nine. You must start watching what you eat, her mother would say. I can see you have my metabolism. Louise also had her mother’s pale blond hair” (158). Omitting the quotation marks suggests the degree to which Louise internalizes her mother’s words; they seem more a part of Louise’s internal thoughts than other people’s words are.

Imagery

Dubus uses imagery, or description using the five senses, to bring the text to life for the reader and to intimately describe what Louise is perceiving and feeling. When Louise is at college, the narrator describes parts of her body she likes and dislikes, saying, “Most of all she liked her long pale blond hair, she liked washing and drying it and lying naked on her bed, smelling of shampoo, and feeling the soft hair at her neck and shoulders and back” (161). This allows the reader to experience Louise’s world through her senses, but it also allows the author to create layers of meaning that harken back to earlier parts of the text. Louise inherited her blond hair from her mother, so when she takes pleasure in feeling her own hair, she may be lamenting the physical affection that she rarely received from her mother. Imagery allows Dubus to communicate this emotion without stating it outright.

Tense Switching

The narrator tells most of the story in past tense, but there are a few tense switches in the last couple pages of the story. First, the narrator switches abruptly to present tense to describe a particular fight of Richard’s: “He is angry now. He stands in the center of the living room, raging at her, and he wakes the baby” (171). Present tense is more immediate than past tense, and this sudden switch to present tense heightens the effect, calling extra attention to the scene.

The text then switches briefly to future tense as Louise fantasizes about putting the child back to bed, eating a candy bar, and divorcing Richard: “When she puts the boy to bed she will get a candy bar from her room. She will eat it here, in front of Richard. This room will be hers soon” (172). This is the only time she thinks so intently about the future, suggesting that she finally knows who she is and what she wants.

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