Some Relations Are Unnamed Quotes

There are vast differences of experience within those categories, so consider their use to be broad guideposts for how anti-fatness can impact fat people at different sizes. THIN AND NON-FAT describe those whose bodies are thinner than fat people’s, and who receive social, cultural, and institutional privileges on the basis of that thinness and proximity to thinness. Those same people may describe themselves as “feeling fat” or may not describe their own bodies as thin. But the privileges we receive are based more on how others perceive us than how we perceive ourselves. Because fatness is often defined relative to thinness, thinness itself often goes unnamed, treated as a default not worth commenting on. But tackling biased myths against fat people requires naming thinness too, so that we can identify the ways in which these myths allow some thin and small fat people to evade and perpetuate anti-fatness by aligning themselves with thinness instead.

In any long fiction, Henry James remarked, use of the first-person point of view is barbaric. James may go too far, but his point is worth considering. First person locks us in one character's mind, locks us to one kind of diction throughout, locks out possibilities of going deeply into various characters' minds and so forth. ....Vulgar diction in the telling of the Helen story would clearly create a white-hot irony, probably all but unmanageable. Colloquial diction and relatively short sentences would have the instant effect of humanizing once elevated characters and events. Highly formal diction and all that goes along with the traditional omniscient narrator might seem immediately appropriate for the seriousness of the story, but it can easily backfire, providing not suitable pomp but mere pompousness. And some choices in p.o.v. as well as in other stylistic elements, may have more direct bearing on the theme than would others. For instance, the "town" point of view, in which the voice in the story is some unnamed spokesman for all the community--among the most famous examples is Faulkner's "A Rose for Emily"--might have the immediate effect of foregrounding the story's controlling idea, conflicting community values versus personal values.

If you, illustrious Prince (the words were addressed to the Duke of Wurtemberg) had informed your subjects that you were coming to visit them at an unnamed time, and had requested them to be prepared in white garments to meet you at your coming, what would you do if on arrival you should find that, instead of robing themselves in white, they had spent their time in violent debate about your person—some insisting that you were in France, others that you were in Spain; some declaring that you would come on horseback, others that you would come by chariot; some holding that you would come with great pomp and others that you would come without any train or following? And what especially would you say if they debated not only with words, but with blows of fist and sword strokes, and if some succeeded in killing and destroying others who differed from them? “He will come on horseback.” “No, he will not; it will be by chariot.” “You lie.” ”I do not; you are the liar.” “Take that”—a blow with the fist. “Take that” ”—a sword-thrust through the body. Prince, what would you think of such citizens? Christ asked us to put on the white robes of a pure and holy life; but what occupies our thoughts? We dispute not only of the way to Christ, but of his relation to God the Father, of the Trinity, of predestination, of free will, of the nature of God, of the angels, of the condition of the soul after death”—of a multitude of matters that are not essential to salvation; matters, moreover, which can never be known until our hearts are pure; for they are things which must be spiritually perceived. Sebastian Castellio