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November 5, 2007

Is Dumbledore really gay?

Warning! Spoilers ahead!

Two weeks ago, J.K. Rowling outed Albus Dumbledore, former Headmaster of Hogwarts School of Witchcraft and Wizardry, as gay. Her audience applauded when they heard the news, but Time contributor John Cloud isn't so easily convinced:

Why couldn't he tell us himself? The Potter books add up to more than 800,000 words before Dumbledore dies in Harry Potter and the Half-Blood Prince, yet Rowling couldn't spare two of those words to help define a central character's emotional identity: "I'm gay." We can only conclude that Dumbledore saw his homosexuality as shameful. His silence suggests a lack of personal integrity that is completely out of character.

Even though I'm more of a New Historicist when it comes to literary interpretation, one must still acknowledge the supremacy of the text. Even though historical context can aid in understanding a literary work, there is no information in a work of fiction that is not in the text. While it may be arguable that Orwell was writing about the BBC canteen when he described the Ministry of Truth cafeteria in 1984, the fact remains that the words on the page describe the Ministry of Truth cafeteria, not the BBC canteen.

Now that the disclaimer is aside, I can safely say that Cloud makes a pertinent point: from the structuralist point of view, Dumbledore is not gay. Homosexualty was never explicitly in the text; in fact, it wasn't even implicitly in the text, which is why Rowling's statement was so surprising. In structuralism, this is called the "intentional fallacy": the idea that the author's own intentions or interpretations mean anything to the text as written. But this isn't a typical case of the intentional fallacy; not only is Rowling's interpretation of her own work not relevant to the text, it isn't even supported by the text! If Rowling herself were to write a paper on Dumbledore's latent homosexuality, she'd probably get a failing grade, as she would be unable to find textual support for her claim.

For all intents and purposes, then, Dumbledore -- despite what her creator claims -- is not gay. Dumbledore, you see, doesn't live in Rowling's mind. As a character in published fiction, Dumbledore lives in the pages of the text, and if the words on the page don't support an assertion of homosexuality, then it doesn't exist.

Which brings us back to Cloud's conclusion: "We can only conclude that Dumbledore saw his homosexuality as shameful. His silence suggests a lack of personal integrity that is completely out of character." Assuming for the moment that Rowling's assertion is true and Dumbledore is gay (which, as I've said above, isn't true, because it isn't in the text), one possible explanation for a lack of any mention of homosexuality by Dumbledore is, in fact, that he's ashamed of it.

Two-and-a-half years and over 400 (!) entries ago, I wrote that whether or not Spongebob Squarepants was gay was irrelevant to the show, since the characters' sexualities were irrelevant to the show. (Thankfully, my posting lives on in posterity; "spongebob sex" is one of the most-searched-for terms that leads people to my website. Hooray!) We cannot assume that a similar irrelevancy is at work in Harry Potter, as the characters' sexualities clearly are relevant to the story. The romantic tension between Ron and Hermione is a mainstay of the plot of all seven books; Harry's relationship with Cho Chang after the murder of Cedric Diggory adds an important dimension to Order of the Phoenix. In any case, the characters' sexuality is not unimportant.

Given Dumbledore's past, it is not unreasonable to assume that he kept silent about his homosexuality because he was ashamed of it. Remember that he kept silent about his sister's death because he was ashamed of it. With all this information, what kind of homosexual role model is a man who has kept quite for over one hundred years about his homosexuality? In adding this abrupt, and theoretically false, footnote to Dumbledore's life, Rowling has, perhaps unknowingly, turned her character into a model for what homosexuality should not be. She's opened up a can of worms that she won't be able to close again. "But it would have been better if she had just let the old girl rest in peace," Cloud concludes.

November 17, 2005

John Hodgman is the funniest human alive

I was writing the previous blog entry while watching John Hodgman on The Daily Show. Hodgman appears occasionally on NPR's This American Life. He appeared on The Daily Show today to promote his new book, The Areas of My Expertise. I actually stopped writing the last entry, saved it, and then wrote this entry before I forgot what I was thinking.

John Hodgman is, I think I can safely say, the funniest human being alive. He came up -- without missing a beat -- with the most hilarious responses to Jon Stewart's questions, all perfectly deadpan. I'll post video as soon as I can.

Among the things in his book are "700 hobo names" (which is apparently a song), something that we've seen before on Boing Boing. In that instance, Boing Boing linked to a website that was drawing cartoons for each of the 700 hoboes chronicled in Hodgman's song.

The more I watched Hodgman during his brief appearance, the more I was completely stupified how perfect his timing was, and how quickly he came up with hilarious answers to Stewart's questions. Even Jon Stewart was cracking up, even though he was trying to play along.

I'm going to buy Hodgman's book now.

July 21, 2005

The return of the physiognomy!

Back in the Middle Ages, there was a pseudo-science called physiognomy which maintained that you could tell what a person's morality was like based on his outward physical appearance. This is taken to extremes in Chaucer's The Canterbury Tales, where the pilgrims' character flaws are revealed through their physical descriptions (leading some experts to conclude, for example, that the Pardoner is gay).

A post at Boing Boing discusses how Roald Dahl, author of Charlie and the Chocolate Factory, among dozens of novels and short stories for both children and adults, makes use of physiognomy:

In many children's books--contrary to what parents tell their children about the meaning of appearances--physical ugliness signifies its moral equivalent. Dahl takes this to an extreme, describing his villains' repulsive attributes with brio: Mr. Hazell's "great, glistening, beery face . . . as pink as a ham," in "Danny, the Champion of the World" (1975); Aunt Sponge's resemblance to "a great white soggy overboiled cabbage"; the "grizzly old grunion of a grandma" in "George's Marvelous Medicine" (1981)--the one Dahl book I find irredeemably sour--who has "a small puckered-up mouth, like a dog's bottom." Dahl shared with George Orwell an acute sense of why small children often see adults as unsightly or intimidating. "Part of the reason for the ugliness of adults, in a child's eyes, is that the child is usually looking upward, and few faces are at their best when seen from below," Orwell wrote. Dahl once said that adults should get down on their knees for a week, in order to remember what it's like to live in a world in which the people with all the power literally loom over you.

But this may be a British thing.

I will now reveal that, for the last week, I have been reading Harry Potter. Last Saturday, when children all over the English-speaking world were starting Harry Potter and the Half-Blood Prince, I was just beginning Harry Potter and the Sorcerer's Stone. As of now, I am halfway through the fourth book, Harry Potter and the Goblet of Fire. And let me tell you, J.K. Rowling makes just as much use of physiognomy as Dahl or Chaucer ever did.

Take Harry Potter's loathsome adopted parents, the Dursleys. Mr. Dursley, Harry's uncle, is a very fat man, described as having small, squinty eyes and no neck. Their son, Dudley, Harry's cousin, is equally fat. Harry's aunt, Mrs. Dursley, is actually quite skinny. What does this all mean? In the world of Harry Potter, a physical description or a name goes a long way in saying how J.K. Rowling feels about you. Uncle Vernon Dursley and Dudley Dursley are both very fat and Uncle Vernon is morbidly concerned with normality. He hates anything to do with magic and lives in constant, horrible fear that someone will find out that his nephew is . . . not normal! As such, the Dursleys go to great lengths to be hyper-normal, so much so that they ignore anything interesting in the world. Take a look at the name "Dudley Dursley." There's a reason why it sounds a lot like the word "dud": Dudley is a dud in the sense that he is "unsatisfactory or worthless." This is manifested in his name as well as his physical characteristics. Torpidity in body means torpidity of the mind; that is, Dudley is lazy physically as well as mentally. He does not exercise his mind or his body, and he fills both with crap: sweets and cakes for his body, and television, computer games, and Playstation for his mind. He has no interest in learning anything new or interesting or bettering himself as a person.

Dahl did the same thing in Charlie and the Chocolate Factory, using physical descriptions to indicate inner vices. He also masterfully used onamotapoetic names for his characters. Does the name "Augustus Gloop" sound appealing? What does "gloop" sound like? Whatever it is, it can't be good. Rowling does the same thing. What does "Slytherin" sound like? Obviously, it sounds like a snake, which in fact is the symbol of the clearly evil Slytherin house. How about "Griffyndor"? Sounds like a griffyn (gryphon or griffen), an animal that is half lion and half eagle. That's one freaking noble animal! Rowling wants us to like Griffyndor and despise Slytherin, and gives them names appropriate to those tones. The characters have names like that, as well. "Draco Malfoy"? Draco comes from the Latin draconis, which means "dragon" (and the word draco still means "dragon" in Spanish), and "malfoy" has the root "mal-," which refers to anything that is evil or bad (malevolus, for example, means "ill-disposed, spiteful, malicious"; see also the Disney villain Malificent from Sleeping Beauty). The Headmaster at Hogwart's is named Dumbledore, and the word "dumb" is in there deliberately. Dumbledore isn't stupid, but like his archetype, he is at once powerful and wise, but also doddering and absent-minded (Disney comes back again; cf. Merlin from The Sword in the Stone, and for something different, cf. Buddhist sannyasi [pl. of sannyasin], old men who have acheived Nirvana but live as hermits and are kind of eccentric). Severus Snape? Again, Snape is clearly not to be trusted; his onamotapoetic name indicates that he is related somehow to a snake, which is true: he is the head of evil Slytherin house and a very nasty man in general.

Again, I say this may be a British thing because I've seen it out of Dahl and Rowling as well as Orwell, who worked physiognomy into Animal Farm and Nineteen Eighty-Four. How many American authors utilize this technique? It does in a few short words something that paragraphs of description couldn't do nearly as well. We're meant to like "Griffyndor" because of the heroic associations it conjures up (especially for the British, who would find a certain patriotic element in the image of the lion, one of the two animals on its seal), and we are meant to loathe "Slyetherin" because of its associations with snakes and serpents, animals which we perceive as ignoble, sneaky, treacherous, and possibly evil.

June 17, 2004

Bizzaro Oprah's Book Club: Dude, where's my 'Fahrenheit 9/11'?

Dude, Where's My Country? by Michael Moore (New York: Warner Books, 2003), $24.95 (hardback; a paperback edition is also available), 249 pages.

The category of anti-Bush books is growing fast as we gear up for high-intensity election action this November. In one corner: incumbent president George W. Bush. In the other corner: looks like John Kerry, but we'd rather have someone else. Michael Moore wrote his book before the primaries, and thus his two picks were Howard Dean (like everyone else) and Dennis Kucinich (like everyone else who was sniffing paint thinner). The only other candidate Moore endorses is Gen. Wesley Clark; Kerry doesn't merit a mention, ostensibly because he came out of nowhere. No one expected Kerry to be the favorite -- but that's an entry for another day.

Moore's book, like his films, is full of demagoguery and appeals to "think of the children." At its best, Moore's work is finely crafted cuisine. At its worst, it's like a jelly-filled donut: it's terrible for you, but it's so good! Works of Moore's that resemble chapter 5 of this book get preachy and irritating. When I watched his film Bowling for Columbine, I knew I was being manipulated, but I was being manipulated so well! Moore succeeds where his Republican alter-ego Ann Coulter fails: in artistic flair.

Is it fair to compare Moore to Ann Coulter? Ten gazillion websites devote themselves to debunking the "facts" inserted in her books Slander and Treason. These debunkings, though, were always journalistic in nature: Coulter misused quotes to make us believe one source said one thing, when in fact he didn't. Or Coulter uses sources that mislead, have been proven wrong, or contain patently false information. I found a website devoted to debunking Michael Moore, but some of the critiques were not journalistic, but partisan and misinformed. In explicating the "Wonderful World" montage from Bowling for Columbine, the critic takes issue with Moore's assertion that the U.S. installed the Shah of Iran:

Mossadeq had no right or public mandate to overthrow Iran's legal ruler, nor did he have any right or public mandate to even be Prime Minister, let alone implement his radical Soviet-style reforms. The Churchill and Eisenhower administrations assisted the Shah's return from exile, and return to the throne. They did not "install" him, they returned him to the position he had legally held since 1941.

Does this mean it is the United States' business to return deposed dictators back to power when they are overthrown? Recall that the U.S. aided a minority coup in Venezuela in 2002. In that instance, we assisted in the overthrow of the popularly elected president by a small, unpopular minority that was not as left-leaning as the previous president. A few days later, the old president was installed.

In any case, Moore isn't perfect: he misrepresents the reason the Maginot Line failed during World War II. (The Line was not a series of bunkers whose failing was that they were facing the wrong way; it was a series of trenches that spanned almost the length of the French-German border. Where there was no line, there was "unpassable" forest. Unfortunately for the French, the Germans found a way through. They also went through Belgium, bypassing the Line completely.)

Don't be suckered in by Moore's demagoguery. Be suckered in by his facts, many of which are fascinating. He exposes links between the House of Saud and the Bushes (George H.W. Bush even has a nickname for Prince Bandar of Saudi Arabia: "Bandar Bush." That implies some closeness, don't you think?). He also exposes the links between Enron, George W. Bush, and the Taliban in the early '90s, right before the Taliban took hard-line control of Afghanistan:

Unocal [the oil company chaired by George W. Bush] would pay off the Taliban to build their pipeline through Afghanistan and into Pakistan. They were then planning to build an extension on that popeline that would run into India and stop at New Delhi. At the same time, Enron was planning to build a pipeline from Dabhol to New Delhi where, of course, it could meet up with the Turkmen pipeline, bringing Unocal and Enron together. (pp. 31-2)

It appears that George W. knew Kenneth Lay, CEO of Enron, quite well; his nickname for him was "Kenny Boy." Later, after Enron went bankrupt, Bush acted as though he didn't know who Kenneth Lay was, even though they had had dealings together in the past.

Moore exposes lots of interesting things, like our reasons for going to Iraq. Even though our new reason -- once we couldn't find WMDs -- was to "liberate" the people there from Saddam, Moore correctly points out that "the United States never gave a rat's ass about how badly Saddam the Dictator treated his own people. We never care about that stuff. In fact, we like dictators! They help us get what we want and they do a great job of keeping their nations subservient to our galloping global interests." Indeed, the U.S. does love dictators. In the Cold War, it didn't matter how brutally repressive a dictator may have been -- as long as he wasn't a communist, then he was our buddy (this happened quite a bit in Central and South America). It usually took a popular uprising to oust the dictator, although sometimes -- as was the case in Chile -- the dictator came back, with U.S. help. Most importantly, Moore reminds us that we supplied Saddam during the Iran-Iraq war and that if he ever used chemical weapons on his own people, we had supplied them to him.

Sometimes, Moore borders on socialism as he suggests that Americans deserve this thing or that thing, but otherwise, his observations about corporate America are dead on. They have their sticky fingers in both parties, but Bush especially is in the pockets of special and corporate interests. For anyone who wants to know why Bush should be kicked out of office in November, this is a must read.

For anyone who wants to know about Bush and play a great video game, visit The Anti-Bush Game, from the people that brought you The Emo Game.

Update: After writing this entry, I went back to the Internet to see if there were other sites that were critical of Moore's facts. Apparently, the bi-partisan (and to-be-trusted) website Spinsanity takes a beef with at least seventeen instances of inaccuracy or lying on Moore's part. Unlike the previous website listed, Spinsanity does not make partisan politics out of the issue, nor does it dispute facts (despite his being a socialist, Salvador Allende was democratically elected by his people, contrary to what the website would have you believe). Spinsanity focuses (rightly so) on inaccuracies of fact in Moore's book.

June 4, 2004

Bizarro Oprah's Book Club: You're a criminal!

Free Culture: How Big Media Uses Technology and the Law to Lock Down Culture and Control Creativity by Lawrence Lessig (Penguin Press, 2004), 345 pp., $24.95 (hardback, available as an Adobe or Microsoft eBook. Also available online for free at http://www.easylum.net/book/view/32).

Copyright law is changing as a result of the Internet, and constitutional law professor Lawrence Lessig is at the forefront of the debate over copyrights in the new millennium. Lessig argues that the media are using technology to keep rigid control over their content, ensuring that they will make lots of money but at the same time stifling creativity and eliminating the idea of the "public domain."

Born in 18th-century England, the Public Domain consists of all once-copyrighted works that are no longer copyrighted. They are the property of the people themselves, and no one can claim control over them. In the United States, all works – novels, short stories, films, plays, music – produced before 1930 are in the public domain. This means that if you want to post the text of Walt Whitman's poems online, you can do so without the permission of the Walt Whitman estate. It also means that any publishing house can produce an edition of Walt Whitman's poems without asking permission (although, when you go to Barnes & Noble, you must pay that publishing house if you decide to purchase that particular edition of Whitman's poems, which may include copyrighted explanatory or introductory material by a contemporary scholar). Since the 1930s, though, Congress has extended the term of copyright such that works produced today are copyrighted for 95 years. Originally, an artist had the right to fourteen years of exclusive ownership of his work. If the artist was alive at the end of this term, he could extend the copyright to for another fourteen years. After that fourteen years, however, the work ceased to be the exclusive property of the artist and passed into the public domain. Lessig himself was involved in the copyright process as counsel for the petitioner in Eldred v. Ashcroft, where he argued that the ability of Congress to continuously extend copyrights defied the Constitution's language that copyrights and patents be granted for "limited Times." It is also worth noting that Congress has not extended the length of time for patents, perhaps because the media do not lobby in Congress for extensions on patents the way they do for copyrights. Lessig notes that

ten of the thirteen original sponsors of the [Sonny Bono Copyright Term Extension Act] in the House received the maximum contribution from Disney's political action committee; in the Senate, eight of the twelve sponsors received contributions.3 The RIAA and the MPAA are estimated to have spent over $1.5 million lobbying in the 1998 election cycle. They paid out more than $200,000 in campaign contributions.4 Disney is estimated to have contributed more than $800,000 to reelection campaigns in the 1998 cycle.

Lessig's book is not limited to a discussion of copyrights and their infringement in the real world; indeed, most of the book is devoted to discussing copyrights in the virtual world (i.e. the Internet). He goes in great depth into discussing the issue of file-sharing and the Digital Millennium Copyright Act (DMCA), which has been used to prosecute any number of supposed violations of copyright on the Internet.

At its heart, Lessig's argument is that the restrictions imposed by these laws restrict our culture, which depends on a freedom of access to information. The law has been turned upside down by media companies. The original intention of copyright law, as Lessig explains, was to give one publishing house the exclusive right to print books. Now, copyright law governs even how we are allowed to use the content that we purchase outright from content providers. This is the ubiquitous "license agreement" that we agree to every time we install a particular product on our computers. It states, in no uncertain terms, that we do not own the software that we just bought; rather, we bought a license to the software, and this license tells us what we can and cannot do with that software. In some instances, the software itself limits our ability to use it. To demonstrate this, Lessig talks about his own Adobe eBook Reader, which limits his ability to use the eBooks that he purchased. In some instances, he has "the permission to copy to the clipboard of the computer ten text selections every ten days." In other instances, "no printing or copying is permitted at all. But fortunately, you can use the Read Aloud button to hear the book." Lastly, and most embarrassingly, in the case of his own book, The Future of Ideas, "No copying, no printing, and don't you dare try to listen to this book!" While this might be acceptable for works under copyright, the first book mentioned, called Middlemarch, is not under copyright. Says Lessig, "When my e-book of Middlemarch says I have the permission to copy only ten text selections into the memory every ten days, what that really means is that the eBook Reader has enabled the publisher to control how I use the book on my computer, far beyond the control that the law would enable." In his gigantic chapter ten, Lessig demonstrates how law like the DMCA allows content providers to overstep the bounds of copyright. For example, a stipulation of the First Amendment is called "fair use" and it allows a person the right to "the non-competitive right to use of copyrighted material without giving the author the right to compensation or to sue for infringement of copyright." A person may thus quote from Lessig's book without having to ask his permission – and yet, the Adobe eBook Reader doesn't allow him to do it! While he does have the right to copy as much of the text of the book as he wants, the software prohibits him from exercising that right, and if he were to modify the software so as to allow him to do with the work what is already allowed to do under law, he would be guilty of circumventing a copyright protection protocol, a violation of the DMCA. With regard to the DMCA, "fair use is not a defense to the DMCA. The question is not whether the use of the copyrighted material was a copyright violation. The question is whether a copyright protection system was circumvented."

In the end, he concludes that the problem does not lie with people who violate the law, but with the law for being too restrictive:

My point is not the idiotic one: Just because people violate a law, we should therefore repeal it. Obviously, we could reduce murder statistics dramatically by legalizing murder on Wednesdays and Fridays. But that wouldn't make any sense, since murder is wrong every day of the week. A society is right to ban murder always and everywhere.

My point is instead one that democracies understood for generations, but that we recently have learned to forget. The rule of law depends upon people obeying the law. The more often, and more repeatedly, we as citizens experience violating the law, the less we respect the law. Obviously, in most cases, the important issue is the law, not respect for the law. I don't care whether the rapist respects the law or not; I want to catch and incarcerate the rapist. But I do care whether my students respect the law. And I do care if the rules of law sow increasing disrespect because of the extreme of regulation they impose. Twenty million Americans have come of age since the Internet introduced this different idea of "sharing." We need to be able to call these twenty million Americans "citizens," not "felons."

When at least forty-three million citizens download content from the Internet, and when they use tools to combine that content in ways unauthorized by copyright holders, the first question we should be asking is not how best to involve the FBI. The first question should be whether this particular prohibition is really necessary in order to achieve the proper ends that copyright law serves. Is there another way to assure that artists get paid without transforming forty-three million Americans into felons? Does it make sense if there are other ways to assure that artists get paid without transforming America into a nation of felons?

Lessig also talks about how the implementation of the law -- our court system -- is designed to favor of corporations with lots of resources. For a person to exercise fair use in a commercial context, the ideal is that he uses the copyrighted material with no problem. The practicality of fair use is that he will be sued by lawyers and must go to court to demonstrate that he has the right to use that copyrighted material. If the person has a limited amount of financial resources, chances are that he will drop the use of the copyrighted material altogether. Says Lessig, "The costs of negotiating the legal rights for the creative reuse of content are astronomically high. These costs mirror the costs with fair use: You either pay a lawyer to defend your fair use rights or pay a lawyer to track down permissions so you don't have to rely upon fair use rights. Either way, the creative process is a process of paying lawyers -— again a privilege, or perhaps a curse, reserved for the few." The law as it is written may allow for fair use, but in the real world, that is easier said than done.

For anyone who cares about freedom, Lessig's book is terrifying. It points to a future in which there is no free use of intellectual property: someone always owns them, and someone must always be paid for them. The writers of the Constitution wanted to strike a balance between the rights of the artist and the necessity for a free society to have free access to that artist's work. Increasingly, the balance has shifted in favor of the artist (and not even the artist; rather, in favor of publishing companies and motion picture distribution companies) to the detriment of society.

June 2, 2004

Bizarro Oprah's Book Club: We're a bunch of pigs

The following is the first in a series of reviews of books I read this summer. Like anyone cares. Anyway, I called this the "Bizarro Oprah Book Club" because the first two books I’m reading are this one and Kurt Vonnegut’s Breakfast of Champions, neither of which would appear on Oprah’s book list. They're too frank and not touchy-feely enough.

Fat Land: How Americans Became the Fattest People in the World by Greg Critser (Boston: Houghton Mifflin, 2003), 224 pp., $24.00 (hardback; a paperback edition is also available).

I first became acquainted with this book in a very bizarre way. Looking for something entertaining online, I went to visit Dan Savage’s Savage Love, a weekly column about bizarre fetishes and sexual stuff. I happened upon it in the middle of a flame war. It seems that, a few weeks ago, Savage responded to a reader who requested, "Please tell women that low-rise jeans only look good on a handful of people. [. . .] If you don't have the body for it (and if you have to think about it -- even for an instant -- you don't!), DO NOT WEAR LOW-RISE JEANS!" Savage responded, "Low-rise is not a fashion statement we Americans should be making just now, what with our skyrocketing rates of obesity. If North Americans want to flounce around in belly-and-backside-exposing pants -- and apparently we do -- we should get the obesity epidemic under control first."

This launched a barrage of mail from angry readers. One wrote, "I'm a large woman. I read your two incredibly offensive columns about 'girl love handles' and the supposed 'health risks' of obesity. How dare you oppress women, large and small, with your judgments!" Supposed health risks of obesity? Since when is being grossly overweight not bad for your health? Is she reading studies written by the same "doctors" who claim that milk is bad for your health? Another reader wrote:

It's hate speech like yours that causes violence toward fat womyn. I stand a glorious five foot two and weigh a beautiful 450 pounds. My fellow sisters and I apologize to no one for our looks. We were born this way. THE HATE MUST STOP!

Apparently, people who are fat are proud of it? The woman cited above is off the charts in terms of obesity. She should see a doctor! And then there was a response from a reader who suggested that talking about obesity will only call body image into question, which in turn will lead to anorexia:

Take a letter about "girl love handles," mix in not one but two mentions of the obesity epidemic, and publish. The result? Thousands of women all over the country developing eating disorders, bulimia, and anorexia, all because they don't fit some arbitrary standard of beauty.

Savage takes this writer to task, noting that it’s a pile of baloney to conclude that critically talking about body image leads to anorexia. To do this, he references Critser’s book:

Our obsession with anorexia, Critser goes on, not only covers up America's true eating disorder (we eat too much and we're too fat!), but it also hamstrings efforts to combat obesity, a condition that kills almost as many people every year as smoking does. Eating disorders, by way of comparison, lead to only a handful of deaths every year.

And so this led me to Critser’s book, Fat Land, which is a terrifying read, especially if you like fast food. Critser leads us on a narrative of gluttony: how U.S. citizens became gluttons in the 1980s, and how it’s hurting us now. He begins by talking about the economic conditions which allowed terrifically unhealthy ingredients like palm oil (45% saturated fat, compared with 38% for hog lard) and high-fructose corn syrup (which replaced regular sugar -- dextrose or sucrose -- as the sweetener in many pre-prepared foods) to become prevalent in the country.

He then demonstrates how fast food restaurants keyed into America’s desire for more food by creating the "value meal." In the early 1980s, eating too much was taboo, and yet, McDonald’s director David Wallerstein observed people scraping the bottoms of their bags of fries: clearly, these people wanted more food, but buying two bags of fries would look gluttonous. McDonald’s was actually the last to jump on the value meal wagon; other restaurants like Burger King had value menus throughout the ‘80s, while McDonald’s didn’t get in on the game until the ‘90s. It gave the consumer more food what he perceived was a lower price (but McDonald’s profit margins were the same – or better, since a value meal guaranteed that a consumer would buy a hamburger and the holy grail of fast food, the highly marked-up fries and coke, which is where fast food joints really make their money).

The Baby Boomer generation was not helpful, either, as they demanded to lose weight with a minimum of fuss. In came a whole host of diets, most notoriously the Atkins diet, which promised that you could eat whatever you wanted and lose weight. The Atkins diet is grounded on suspicious science, and has a better chance of causing gout than weight loss (gout, an infection caused by overconsumption of fat and protein, was thought to be all but eliminated).

Through all of this, the medical establishment was slow to catch on that the American diet was responsible for increases in obesity and type 2 diabetes in children. Type 2 diabetes was long thought to be confined only to adults, but by 1999, type 2 diabetes “in some parts of the country would zoom to nearly 45 percent of new cases” of diabetes reported by pediatric diabetes centers in the U.S. It wasn’t until the mid- to late-‘90s that scholarly studies of the effects of fast food were seriously considered as causes of an epidemic of overweight children and adults.

While diabetes and weight can be downplayed as the result of genetics, Critser asks us to consider that the percentage of the population that was overweight skyrocketed from 25% (where it had remained for a long time) to as much as 40% in the late ‘80s. The book is as much an indictment of our culture as it is fast food restaurants and purveyors of pre-packaged foods, who insert unhealthy ingredients to increase shelf-life and maintain a good “mouthfeel” after an hour under the heat lamp. As television and video games became more popular, children stopped playing and stayed inside. As both parents moved outside of the house to work, convenience -- not healthfulness -- became most important in food choices. The more time a person spends in front of the TV, the more time -- inevitably -- that person will be snacking. The number of new candy and snack products that came out every year remained constant at about 250 – until the '80s, when this number jumped to 1000. "A revealing graphic of this trend, charted against the rise in obesity rates, was published by the American Journal of Clinical Nutrition in 1999; the two lines rise in remarkable tandem," says Critser.

As Americans become increasingly fatter (although not the fattest people in the world, admits Critser; that title belongs to South Sea islanders), this book becomes increasingly important. One of the more disturbing elements of the book is the fact that fast food and junk food companies are increasingly attempting to hook new consumers at a very early age. McDonald's invented this idea in the '70s with the Happy Meal. These companies are now in our schools "in the form of 'sponsored educational materials': nutrition curriculum by McDonald's; math lessons using Tootsie Rolls and Domino's Pizza wheel graphics; reading texts that teach first graders to start out by recognizing logos from Pizza Hut and M&Ms." This is scary stuff, and in the penultimate chapter, Critser pens a terrifying account of a day in the life of the average American, who will inevitably be obese (this chapter, while obviously demagogically appealing to our sense of horror, is pretty effective in getting the point across). Above all, cultural attitudes must change: fast food is bad, junk food is bad, and there is no pride to be found in being obese: it is a health problem that must be dealt with rather than accepted. On more than one occasion Critser hopes that the stigma of obesity will force people who are obese to examine their diets and slim down before they start to suffer.

Post Script: Obesity kills!

A nutritionist once wrote that anorexia kills 150,000 women every year, reports Barry O'Neill of UCLA. The 150,000 figure was repeated by feminist leaders Gloria Steinem and Naomi Wolf. Christina Hoff Sommers, in Who Stole Feminism? revealed that the number is closer to 100; 150,000 is an estimate of the sufferers. O'Neill calculates the annual death rate to be 950. This is calculation based on a sample; it is not actual data.

Are there no data about eating disorder mortality? Actually, there are, but you have to dig for it. Using actual statistics dredged from the bowels of the CDC, I discovered that in 2001, only 221 people died from "Eating disorders" (as classified by the Tenth Revision of the International Classification of Diseases, ICD-10), whereas 3,139 people died from "Obesity." This is a change from 1999, when 256 people died from eating disorders and 2,599 from obesity. In two years, eating disorders as a cause of death declined 8.6%, while obesity rose 20.8%! Which one is the epidemic?