13 Ways of Looking at a Fat Girl

by Mona Awad Narrated by Jorjeana Marie

Overview

A darkly funny, deeply resonant, and exquisitely written literary debut, 13 Ways of Looking at a Fat Girl is the story of one woman's journey from fat adolescence to an ex-fat adulthood, as she seeks love and acceptance from everyone except herself.

Growing up in the suburban hell of Misery Saga (a.k.a. Mississauga), Lizzie has never liked the way she looks-even though her best friend Mel says she's the pretty one. She starts dating guys online, but she's afraid to send pictures, even when her skinny friend China does her makeup: she knows no one would want her if they could really see her. So she starts to lose weight. With punishing drive, she counts almonds consumed, miles logged, pounds dropped. She fights her way into coveted dresses. She grows up and gets thin, navigating double-edged validation from her mother, her friends, her husband, her reflection in the mirror. But no matter how much she loses, will she ever see herself as anything other than a fat girl?

In her brilliant, hilarious, and at times shocking debut, Mona Awad simultaneously skewers the body image-obsessed culture that tells women they have no value outside their physical appearance, and delivers a tender and moving depiction of a lovably difficult young woman whose life is hijacked by her struggle to conform. As caustically funny as it is heartbreaking, 13 Ways of Looking at a Fat Girl introduces a vital new voice in fiction.

Editorial Reviews

From the Publisher

Named one of the best books of the year by NPR, The Atlantic, Time Out New York, and The Globe and Mail

"Honest, searing, and necessary." —Elle

“Simultaneously tart and tender, 13 Ways of Looking at a Fat Girl is stunning...The way food and body image define Elizabeth’s life is depressing and sad. But the book is neither. There is so much humor here — much of it dark, but spot on, like Dolores in Wally Lamb’s She’s Come Undone or Lena Dunham in Girls." —Washington Post

“Heartbreaking . . . [rife] with beauty and humor . . . As addictive as potato chips and as painful as the prospect of eating nothing but 4-ounce portions of steamed fish for the rest of your life.” —Chicago Tribune

“Gutting . . . Awad gets everything right and, throughout these interconnected stories, reveals how absurd our culture is about women and their bodies. Several sections had me in tears. . . . I highly recommend this one.” —Roxane Gay (via Goodreads)

"Awad tells Lizzie’s story from a variety of different perspectives and in different scenes, some deeply funny, some dreamlike, many tragic. Throughout, her prose is lively, while her insight into the often-baffling complexities of being a woman is touching and sharp." —The Atlantic, "The Best Books We Missed This Year"

"Awad is a fine writer with a keen sense of black humor, which makes this often sad story more entertaining than you might expect." —Lynn Neary, NPR's "Guide To 2016’s Great Reads"

"A ferocious look at body image and how it permeates every aspect of our lives. At times funny, at others heart-breaking, this is an important one to read this year." —BookRiot, "The Best Books of 2016, So Far"

"Dark and caustically funny...[This] book somehow manages to strike a balance between depressing and hilarious. —Time Out New York, "The 15 Best Books of 2016"

"Awad's sensitive, unflinching depiction of [Lizzie's struggle] is a valuable addition to the canon of American womanhood." —Time

"Moving." —The New York Times Book Review

“A novel in thirteen vignettes about the experience of being a woman dealing with body image issues or simply put: The experience of being a woman. . . . Even someone who has never struggled with her weight should be able to see her teenage self in Awad’s pages.” —The Rumpus

"With dark humor and heartbreaking honesty, Awad cuts away at diet culture and the pressure on women to make thinness and beauty their priority." —San Francisco Chronicle

“Awad explores the sometimes funny, sometimes heartbreaking ways that a person’s struggle with body image can seep into every part of her existence. . . . 13 Ways of Looking at a Fat Girl is not really about how Lizzie March looks. . . . [it's] about how she sees herself.” —Wall Street Journal

"Awad portrays Lizzie's humiliations with unflinching honesty and a dose of dark humor." —NPR

"It's as if the writer has eavesdropped on your most pathetic, smallest thoughts. . . . Awad's writing is heartbreaking and witty, while her prose is insightful and sharp-elbowed in its caustic edge. . . . [Lizzie is] a vulnerable, funny and fierce narrator." —The Salt Lake Tribune

"Awad’s satiric edge is on display in her debut novel." —Los Angeles Times

"[A] mordant coming-of-age novel." —O, The Oprah Magazine

"In this dark, honest debut, Awad sharply observes . . . the struggles of growing up, growing out, and trying to slim down, at any cost." —Marie Claire

"The nuance Awad adds to conceptions of weight and body image is applied also to her realizations of female friendships. Lizzie’s relationships with other women are at once petty and kind, jealous and admiring." —HuffPost

"Blunt and funny, 13 Ways of Looking at a Fat Girl is a refreshingly honest look at how society views physical appearance, how we internalize those critiques and how that affects the way we navigate the world." —Mashable

"Awad’s writing is white hot, and deserves to be invoked alongside Gaitskill in its observation and cutting humor, its literary pleasures. It’s impossible not to care for Lizzie: not a talking point, but a sweet, calculating, hurt person—that is to say, a real woman, who leaves that scarequote-worthy cliché miles behind. . . . Fantastic new genre-bending fiction." —Tin House

"While many women writers are leaning toward a brand of feminism that links all women by making sweeping (and often suffocating) generalizations, Mona Awad insists on difference. . . . Lizzie Smith is not the funny fat girl we’ve grown used to in literature and popular culture. She isn’t a body empty of nuance, but one loaded instead with fluffy musings about what it means, in fact, to be a fat girl. . . . Awad’s tight control of the narrative and the effective work that the 13 chapters accomplish makes it impossible not to understand why Lizzie is doing what she’s doing." —Los Angeles Review of Books

“Awad is an incredibly skilled writer, with a rare ability to construct tiny moments of both acute empathy and astonishing depth. . . . [and] a profoundly sensitive understanding of the subject matter. . . . It’s impossible not to be deeply affected by [her] prose. . . . A real narrative achievement.” —The Globe and Mail (Canada)

“[This] darkly comic book isn’t afraid to shock.” —Minnesota Public Radio, “The Best Books of 2016 (so far)”


"Empathetic, engaging and bitingly funny. . . . In subject and voice, there are echoes of Margaret Atwood’s The Edible Woman and Janice Galloway’s The Trick Is to Keep Breathing, but neither has the wit of 13 Ways of Looking at a Fat Girl." —The Irish Times

"Absorbing . . . Subtle but poignant . . . This sort of intrafeminine aggression will be familiar to most women, whatever side of the body war they’ve been on. But it is is a side of experience that hasn’t been much explored by literary novelists." —The Guardian

"A total must-read . . . Awad’s raw and empathetic prose is alternately darkly humorous and painful to read. . . . If you’re a woman living in the year 2016, you’ve felt some semblance of doubt, pressure or stress about the way you look. As such, you need to read Mona Awad’s fantastic new novel." —PureWow

“Mona Awad writes exactly what you’re thinking, and that’s one of the many reasons you’re going to love her debut. . . . [13 Ways] announces her as a writer with real insight not only to the mind, but also to the heart.” —Bustle, "17 Of 2016’s Most Anticipated Books"

"Funny and frank." —VICE

"As Lizzy examines the body she's never loved, our thin's-in, thigh-gap-crazy world comes into focus." —Cosmopolitan

"Throughout these often raw, poignant stories, Awad adeptly skewers the culture of fitness and dieting, a constant battle of self-denial. . . . [An] insightful debut." —BookPage

“A painfully raw—and bitingly funny—debut . . . [Lizzie] gets under your skin, and she stays there. Beautifully constructed; a devastating novel but also a deeply empathetic one.” —Kirkus Reviews, starred review

“Assured and terrific.” —Publishers Weekly

“Touching . . . Behind the title of Awad’s sharp first book, a unique novel in 13 vignettes, is brazen-voiced Lizzie, who longs for, tests, and prods the deep center of the cultural promise that thinness, no matter how one achieves it, is the prerequisite for happiness.” —Booklist

“This book sparkles with wit and at the same time comes across as so transparent and genuine—Awad knows how to talk about the raw struggles of female friendships, sex, contact, humanness, and her voice is a wry celebration of all of this at once.” —Aimee Bender, author of The Particular Sadness of Lemon Cake
 
“Hilarious and cutting . . . Mona Awad has a gift for turning the every day strange and luminous, for finding bright sparks of humor in the deepest dark. She is a strikingly original and strikingly talented new voice.” —Laura van den Berg, author of Find Me and The Isle of Youth

“Luminous . . . full of sharp insight and sly humor . . . It seems that Mona Awad can describe the imperfect nature of any love perfectly: whether it’s love between friends, between mother and daughter, husband and wife, woman and food.” —Katherine Heiny, author of Single, Carefree, Mellow

“Remarkable . . . committed to the most honest and painful portrayal and comprehension of what it means to be human, with all its flaws and joys.” —Brian Evenson, author of Fugue State and Immobility

"I loved this book!" —Molly Antopol, author of The UnAmericans

School Library Journal

06/01/2016
A shockingly accurate portrayal of fat culture and female body shaming, this brief novel comprised of 13 short stories is like a grittier Bridget Jones's Diary mashed with Andrew Smith's Grasshopper Jungle. Lizzie obsesses over her weight. She believes that her thighs are too big and that no one could love her, and so she willingly allows her friends and boyfriends to control her. Lizzie is into online dating until the older man she meets wants a full-body shot, and she always takes what she can get when it comes to romance. When she finds a good man, she loses weight to keep him (even though he doesn't care about her appearance) and changes her name, but her self-esteem doesn't improve. The truths revealed in this work make it a difficult read, but most teens will identify with Lizzie in at least one of these tales. Some were previously published, but Awad has arranged them artfully to create a thought-provoking account of a young woman growing awkwardly into late adulthood. VERDICT A brash, realistic, and much needed look at body culture and self-esteem. Pair this with Isabel Quintero's Gabi, a Girl in Pieces.—Sarah Hill, Lake Land College, Mattoon, IL

Product Details

BN ID:	2940169549461
Publisher:	Blackstone Audio, Inc.
Publication date:	05/10/2016
Edition description:	Unabridged

Read an Excerpt

***This excerpt is from an advance uncorrected proof***
When We Went Against the Universe

We went against the universe at the McDonald’s on the corner of Wolfedale and Mavis. On a sunny afternoon. Mel and I hate sunny afternoons. Especially here in Misery Saga, which is what you’re allowed to call Mississauga if you live there. In Misery Saga, there is nothing to do with sunny afternoons but all the things we have already done a thousand times. We’ve lain on our backs in the grass, listening to the same discman, one earphone each, watching the same clouds pass. We’ve walked in the woodlot pretending to pretend that it is Wonderland, even though when you stand in the heart of it, you can still hear cars drive by. We’ve eaten dry cupcakes at that dessert place down the road where all the other kids go. We don’t like other kids but we went anyway, just for the bustle. We’ve sat behind the bleachers sharing Blizzards from Dairy Queen, the wind making our Catholic school kilts flap against our stubbly knees. Our favorite was the one with the pulverized brownies and nuts and chocolate sauce, but they don’t make it anymore for some reason. So we’re at the McDonald’s on the corner eating McFlurries, which everyone knows aren’t as good as Blizzards, even when you tell them to mix more things in.

We’re bored out of our minds as usual, having exhausted every topic of conversation. There is only so much Mel and I can say about the girls we hate or the bands and books we love on a scale of one to ten. There is only so much we can play of The Human Race Game, which is when we eliminate the whole human race and only put back in the people we can stand and only if we both agree. There is only so much we can talk about how we’d give it up and what we’d be wearing and with which boy and what he’d be wearing and what album might be playing in the background. We’ve established, for the second time today, that for Mel it would be a red velvet dress, the drummer from London After Midnight, Renaissance wear, and Violator. For me: a purple velvet dress, Vince Merino, a vintage suit, and Let Love In, but it changes.

So we decide to do The Fate Papers. The Fate Papers is Mel’s name for when you tear off two small bits of paper and write No on one piece and Yes on the other. You shake the two balled up pieces in your hands while you close your eyes and ask the universe your question. You can ask aloud or in your mind. Mel and I both prefer in your mind but sometimes, if it is an urgent matter, like now, we ask aloud. The first paper that drops is the answer. Now we are asking if Mel should call Eric to see if he likes the CD she made him of her favorite Lee Hazlewood songs. The Fate Papers already said No, but we’re doing two out of three because that couldn’t be right even though The Fate Papers are never wrong. Next, we are going to ask if I should try talking to Vince Merino again after yesterday’s fiasco attempt.

The Fate Papers say No to Mel again, then No to me.

The universe is against us, which makes sense. So we get another McFlurry and talk about how fat we are for a while. But it doesn’t matter how long we talk about it, or how many times Mel assures me she’s a fucking whale beneath her clothes, I know I’m fatter. Not by a little either. Mel has an ass, I’ll give her that, but that’s all I’ll give her.

If I win the fat argument then Mel will say, so what I’m way prettier than she is but I think face-wise we’re about the same. I haven’t really grown into my nose yet or discovered the arts of starving myself and tweezing. So I’ll be honest with you. In this story, I don’t look that good, except for maybe my skin which Mel claims she would kill for. Also my tits. Mel says they’re huge and she assures me it’s a good thing. Maybe even too much of a good thing, she says. It’s Mel who got me using the word tits. I have trouble calling them anything even in my thoughts. They embarrass me and all the words for them embarrass me, but I’m trying, for Mel’s sake, to name my assets. Even with my tits, though, it’s still Mel who looks better. She’s got psoriasis and a mustache she has to bleach (we both do) and still. It’s definitely Mel who has any hope in hell with any of the boys we like. Which is I guess why she claims the men at the next table were looking at her first.

I hadn’t even noticed them. I was busy eating my Oreo McFlurry, hunting for the larger pieces of Oreo that sometimes got trapped at the bottom, which I hate. It’s Mel who points the men out saying three o clock to me without moving her lips or making much noise. I turn and see three businessmen sitting in the booth next to us, eating Big Macs. I assume they are businessmen because they are wearing business suits but they could just as easily have been suit salesmen or bank tellers. At any rate, they are men, their hands full of veins and hairs, each pair of hands gripping a bit-into Big Mac.

Mel said they were totally checking her out. I look at them again and none of them seem to be looking at us. They don’t even seem to be looking at each other. They’re looking at their burgers or into space.

No, Mel said. They were looking at her tits. Mel is exceedingly proud of her tits. What she loves most is the mole on the top of her left breast. She wears Wonderbras and low-cut tops to show it off.

I want a boob guy, she always tells me. I wouldn’t want a butt guy because I hate my butt.

Yeah, I say, in sympathy.

I hate it, she clarifies. But boys love it. They always give me compliments. Still, I wouldn’t want a butt guy. He’d always want to do it from behind.

Yeah, I would say, in sympathy again. We both agree we’d never want a leg guy.

The reason the men were looking, according to Mel, was because she’d been giving off sex vibes all day. I never know what she means by this. My best guess is something between an animal scent and a cosmic force. Mel always says it had to do with the universe. What happens is the universe feels her sex vibes and transmits them to other like-minded men and women. Mel says these particular men could feel her sex vibes. That’s why they looked. She was giving off enough of them for both of us. Which is why they looked at me too. They’re totally checking us both out, she says. They checked her out first, of course. But now they’re checking us both out.

I say, Really?

And she says, Totally. Doesn’t that make you horny?

I hate the word horny. It makes me think of sweat and snorting and wiry hairs.

I guess, I say. Though it really, really doesn’t. The men aren’t really attractive. I mean they’re fine I guess. But they have these little blinky businessmen eyes and one of them even has grey hair. They look like they are around my father’s age. I hardly see my father since he left, but I know he has a lot of girlfriends. Mainly women he works with at the hotel where he’s a manager. I find traces of them with on my infrequent visits to his apartment—feathery, complicated lingerie between his balled up black socks, a box of tampons under the sink. And then in with his cologne bottles shaped like male torsos, I’ll find a perfume that smells sickly sweet. One time one of them left a message on the machine saying she missed his body oh so much. I can’t even imagine missing my father’s body and not just because he is my father. No, none of this was making me especially horny. But I say it sort of is because I know if I don’t play along Mel will be angry and a pain to hang out with.

Wouldn’t it be fun, she says, if we went up to them and propositioned them?

To do what? I say.

To like, I don’t know, she sighs. Let us suck them off. For money. I’d say we’re each worth at least fifty bucks. Maybe even a hundred.

Mel’s a bit of slut. But you can’t ever call her that. She hates the word slut and gets pissed if anybody around her uses it. She got super pissed at our friend Katherine once, this girl at our school who wants to be a nun, because Katherine says slut about people she doesn’t like and she says it, according to Mel, with a mouth full of hate. I tell Mel what does she expect from a girl who only wants to be touched by the hand of God? Mel says it doesn’t matter and really hates Katherine even though we’re all friends.

Mel had to change schools even because they kept calling her a slut. Mostly behind her back, but sometimes even to her face like in an 80s movie. Something about a boy she really liked who already had a girlfriend but the boy found out Mel liked him and started to like her back without breaking up with his girlfriend. So when Mel found out the boy liked her back, she gave him a blow job in the woodlot. But then his girlfriend found out about it and got everyone in the school to start calling Mel a slut whenever she walked by. I guess the boy must have felt guilty about the blow job and decided to tell his girlfriend. Or he was proud of it and just couldn’t stop himself. Whatever it was, Mel couldn’t take it and had to change schools. That’s how I met her and we started getting bored together.

People call Mel a slut at our school too. Because of what she wears on days when we don’t wear our uniforms but also because of what she wears on regular days which is nylon thigh highs instead of the itchy wooly tights we’re supposed to wear. And she rolls her kilt all the way up so you can see where the thigh highs end. My mother thinks this is why people call Mel a slut. But I don’t think so. Not to sound like an old fart, but you should see girls these days. Some girls roll their kilts all the way up to their crotch. I wear mine down to my knees, but sometimes I’ll roll it up just a little on the way to school. But then it always rolls back down by itself. It’s fine. Later on I’m going to be really fucking beautiful. I’m going to grow into that nose and develop an eating disorder. I’ll be hungry and angry all of my life but I’ll also have a hell of a time.

For minutes now, Mel has been seriously calculating how much we might be worth to these businessmen. She has now decided that our youth and the fact that we’re both virgins—in her case, only technically—makes us way more expensive than she initially thought.

At least 300 dollars, she finally said. What do you think?

At the very, very least, I say, playing along. I try to use a voice that tells her I’m just playing along.

I look at the men more closely. Two are fine. But one of them is rather flabby and pale with little worm husk lips and a look of hunger in his eyes that his Big Mac is not filling. His whole face reminds me of the word horny. I know if it comes to down to it, this is the one I’ll get stuck with.

But where are we going to go with these guys? I ask.

I’ll bet one of them’s got a big, black car, Mel says. Big enough for all of us.

Mel looks out the Windex-streaked window into the parking lot. I look with her.

There are no cars like that in the parking lot.

There’s more parking in back, Mel says.

She says, You go ask them.

You go, I say. It’s your idea.

She looks at me and takes a deep breath and says Okay and gets up and I say, Wait.

What?

Let’s go to the bathroom first.

When we get up to go to the bathroom, Mel saunters up to the three men and says Hey in what she thinks is her sexiest voice. To me, though, the only difference between it and her normal voice is that it just sounds louder. In this voice, she asks them if they might happen to know the time.

All three of these men are wearing wristwatches but only one of them—the fat, pale, horny one—consults his. The other two exchange a glance and keep eating.

It’s about 5:30, he says, looking up at us. And I notice that when he does, his little businessman eyes do this little dip from our faces to our chests. It’s the littlest dip you can imagine. But it’s all Mel can talk about when we get to the bathroom.

Could you beeelieeeeve that guy? I mean, he was slobbering all ohhhver us.

And I say, Totally, I know. He totally was.

And she says, Oh my god, Lizzie, we have to do this.

And I agree. We have to.

It was Dress Down Day, which means that though we came from school, we’re not wearing our uniforms. This Dress Down Day had a theme. Normally Mel and I steer clear of the themes because of how lame they usually are, but this one was The Sixties which we guessed was cool enough. Everybody dressed up like a hippie including me but Mel did something cooler. She found this mini dress with a whacked out red and white pattern at Value Village for like seven bucks. So she’s wearing that and her lips are covered with a silvery frost which she is now reapplying in the mirror. Her eyelids are lined thickly on top with black liquid liner. All day she got compliments from everyone, even though we know no one except Katherine. Girls we both hate kept coming up to Mel and saying things like, Love your dress. And then Mel said, Thanks, and when the girl was out of ear shot Mel finished with Bitch. And we both laughed.

I finish putting on my lipstick and I watch Mel apply a fresh coat of eyeliner to one closed eye, and I say But we can’t have sex with them.

Mel waves the coat of eyeliner dry with a hand.

Oh my god, she says, of course not. Are you crazy?

I heave a sigh of relief. Okay good, I say.

We’re just going to suck them off in their car, she says. It’ll like make their whole lives.

Alright, I say, and run my tongue over my teeth.

I pray the businessmen won’t be there when we get back, but they’re there. And one of them, our friend, the time-teller, even smiles at us. Mel takes a step toward their table; they all look up. Then just as she takes a breath and starts to open her mouth, I grab her hand and pull her back.

What? She hisses.

Let’s do The Fate Papers real quick, I hiss back.

Mel sighs and sits down with me back at our booth.

I watch as she lamely shuffles the crumbled bits of napkin. I close my eyes tight and ask the universe as hard I can in my mind.

When the paper drops, I pick it up off the table and unfold it.

Yes, written with purple ink in Mel’s loopy hand.

I make her do two out of three.

Now what? she says, as we both stare the crumpled Yes of the universe in the face for the second time.

By then the businessmen are getting up, clearing their trays. The horny one, though, he takes his time, smiling at me on the way out in a manner that I can only describe as trying for fatherly but coming off more like a creepy uncle. Mel and I look at each other and make a face and fake a shudder and laugh.

Later on, Mel would climb into cars and taxis with men she barely knew while I watched from the sidewalk. She would agree to blow a guy in the stall of a men’s bathroom near Union Station for fifty dollars.. She would wear her Catholic school uniform long after she had dropped out of high school for a man from Sudbury who looked exactly like Sloth from The Goonies.

Much later on, in the back of a parked van, my wrists would get tied together with a pair of dirty gym socks and I would get terrible head from a political science major who would tell me my inability to come was psychological. I would go to a park with a man ten years older than me, an Indian physicist. After explaining resonance to me with violent hand gestures, he would dry hump me between the rocks bordering the man-made creek. Years before that, in a hotel room in the next suburb, I would go down on a man old enough to be my father—a friend of my mother’s—every day after school for a week or so until this man felt so guilty he told my mother and I never saw him again. All that week, this man would pay for my taxi ride from school to the hotel. And I would ride in it, lipstick matching my nail polish, bra matching my underwear, feeling like a girl in a movie until I got there and then when I got there, and saw him waving at me by the entrance, ready to pay the driver, I would not feel like that anymore. He would say, You look nice, in the elevator on the way up, if we were alone. Nice, not beautiful. Never would this man or any man call me beautiful, not for a long, long time.

They would have totally gone for it. You know they would have, Mel says, handing me an earbud, as we both rise from the booth. Especially that one guy.

Yeah, I say, putting the bud in my right ear.

And The Fate Papers said Yes, she adds, putting the bud’s twin in her left ear and pushing a button on the Discman, “Some Velvet Morning” swelling in our respective ears.

You know what that means? she says. That means the universe wanted us to blow those guys.

So what happens when you go against the universe? I ask her, as we leave behind the golden arches and enter the suddenly ominous maw of a Misery Saga night.

I don’t know, she says, thoughtful. I’ve never done it before. I guess we’ll see.

As we walk to her house under black-bellied clouds we consider the question, careful to walk the same measured steps side by side so the cord wouldn’t pull too far in either direction.

(Continues…)

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Excerpted from "13 Ways of Looking at a Fat Girl"
by .
Copyright © 2016 Mona Awad.
Excerpted by permission of Penguin Publishing Group.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

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