Betsy Osborne
Author of Jingle Bells, Wedding Bells [Anthology 4-in-1]
About the Author
Works by Betsy Osborne
Associated Works
A Fortune's Children Christmas (Angel Baby / A Home for Christmas / The Christmas Child) (1998) — Contributor — 92 copies, 1 review
A Very Merry Step-Christmas — Original Text — 1 copy
Tagged
Common Knowledge
- Legal name
- Schroeder Boswell, Barbara
- Other names
- Boswell, Barbara
- Birthdate
- 1946-10-28
- Gender
- female
- Awards and honors
- Romantic Times Career Achievement Award (1988)
- Nationality
- USA
- Birthplace
- McKeesport, Pennsylvania, USA
- Associated Place (for map)
- Pennsylvania, USA
Members
Reviews
Reflecting the Kmart Realism movement, Raymond Carver’s short story “Fat” narrates an interaction between a waitress and an apparently obese customer. Carver utilizes a minimalist structure within the short story as a ploy to withhold information and any clear didactic conclusion. This avoidance parallels the narrator’s self-conscious refusal to delve into any deeper implications of the interactions as she retells the story to her friend Rita. This disconnect continues with her show more partner Rudy.
Throughout “Fat,” the narrator’s seemingly closest interpersonal connections disintegrate. Instead, the narrator finds connection and importance in the rapport with her fat customer who allows her to understand “he can’t help it” (14), and later that “there is no choice” (16). Carver creates a visual loss of control in the fat man’s mechanical, detailed actions while eating. Carver parallels this mechanized behavior as the narrator describes her routine life at home with Rudy. Like the fat customer, the narrator exists trapped inside her life. However, in the last sentence she reveals that her “life is going to change,” and that she “can feel it” (16) - seemingly indicating that she will soon assert control over her life and change the outcome.
show less
Throughout “Fat,” the narrator’s seemingly closest interpersonal connections disintegrate. Instead, the narrator finds connection and importance in the rapport with her fat customer who allows her to understand “he can’t help it” (14), and later that “there is no choice” (16). Carver creates a visual loss of control in the fat man’s mechanical, detailed actions while eating. Carver parallels this mechanized behavior as the narrator describes her routine life at home with Rudy. Like the fat customer, the narrator exists trapped inside her life. However, in the last sentence she reveals that her “life is going to change,” and that she “can feel it” (16) - seemingly indicating that she will soon assert control over her life and change the outcome.
show less
Reflecting the Kmart Realism movement, Raymond Carver’s short story “Fat” narrates an interaction between a waitress and an apparently obese customer. Carver utilizes a minimalist structure within the short story as a ploy to withhold information and any clear didactic conclusion. This avoidance parallels the narrator’s self-conscious refusal to delve into any deeper implications of the interactions as she retells the story to her friend Rita. This disconnect continues with her show more partner Rudy.
Throughout “Fat,” the narrator’s seemingly closest interpersonal connections disintegrate. Instead, the narrator finds connection and importance in the rapport with her fat customer who allows her to understand “he can’t help it” (14), and later that “there is no choice” (16). Carver creates a visual loss of control in the fat man’s mechanical, detailed actions while eating. Carver parallels this mechanized behavior as the narrator describes her routine life at home with Rudy. Like the fat customer, the narrator exists trapped inside her life. However, in the last sentence she reveals that her “life is going to change,” and that she “can feel it” (16) - seemingly indicating that she will soon assert control over her life and change the outcome.
show less
Throughout “Fat,” the narrator’s seemingly closest interpersonal connections disintegrate. Instead, the narrator finds connection and importance in the rapport with her fat customer who allows her to understand “he can’t help it” (14), and later that “there is no choice” (16). Carver creates a visual loss of control in the fat man’s mechanical, detailed actions while eating. Carver parallels this mechanized behavior as the narrator describes her routine life at home with Rudy. Like the fat customer, the narrator exists trapped inside her life. However, in the last sentence she reveals that her “life is going to change,” and that she “can feel it” (16) - seemingly indicating that she will soon assert control over her life and change the outcome.
show less
Reflecting the Kmart Realism movement, Raymond Carver’s short story “Fat” narrates an interaction between a waitress and an apparently obese customer. Carver utilizes a minimalist structure within the short story as a ploy to withhold information and any clear didactic conclusion. This avoidance parallels the narrator’s self-conscious refusal to delve into any deeper implications of the interactions as she retells the story to her friend Rita. This disconnect continues with her show more partner Rudy.
Throughout “Fat,” the narrator’s seemingly closest interpersonal connections disintegrate. Instead, the narrator finds connection and importance in the rapport with her fat customer who allows her to understand “he can’t help it” (14), and later that “there is no choice” (16). Carver creates a visual loss of control in the fat man’s mechanical, detailed actions while eating. Carver parallels this mechanized behavior as the narrator describes her routine life at home with Rudy. Like the fat customer, the narrator exists trapped inside her life. However, in the last sentence she reveals that her “life is going to change,” and that she “can feel it” (16) - seemingly indicating that she will soon assert control over her life and change the outcome.
show less
Throughout “Fat,” the narrator’s seemingly closest interpersonal connections disintegrate. Instead, the narrator finds connection and importance in the rapport with her fat customer who allows her to understand “he can’t help it” (14), and later that “there is no choice” (16). Carver creates a visual loss of control in the fat man’s mechanical, detailed actions while eating. Carver parallels this mechanized behavior as the narrator describes her routine life at home with Rudy. Like the fat customer, the narrator exists trapped inside her life. However, in the last sentence she reveals that her “life is going to change,” and that she “can feel it” (16) - seemingly indicating that she will soon assert control over her life and change the outcome.
show less
Reflecting the Kmart Realism movement, Raymond Carver’s short story “Fat” narrates an interaction between a waitress and an apparently obese customer. Carver utilizes a minimalist structure within the short story as a ploy to withhold information and any clear didactic conclusion. This avoidance parallels the narrator’s self-conscious refusal to delve into any deeper implications of the interactions as she retells the story to her friend Rita. This disconnect continues with her show more partner Rudy.
Throughout “Fat,” the narrator’s seemingly closest interpersonal connections disintegrate. Instead, the narrator finds connection and importance in the rapport with her fat customer who allows her to understand “he can’t help it” (14), and later that “there is no choice” (16). Carver creates a visual loss of control in the fat man’s mechanical, detailed actions while eating. Carver parallels this mechanized behavior as the narrator describes her routine life at home with Rudy. Like the fat customer, the narrator exists trapped inside her life. However, in the last sentence she reveals that her “life is going to change,” and that she “can feel it” (16) - seemingly indicating that she will soon assert control over her life and change the outcome.
show less
Throughout “Fat,” the narrator’s seemingly closest interpersonal connections disintegrate. Instead, the narrator finds connection and importance in the rapport with her fat customer who allows her to understand “he can’t help it” (14), and later that “there is no choice” (16). Carver creates a visual loss of control in the fat man’s mechanical, detailed actions while eating. Carver parallels this mechanized behavior as the narrator describes her routine life at home with Rudy. Like the fat customer, the narrator exists trapped inside her life. However, in the last sentence she reveals that her “life is going to change,” and that she “can feel it” (16) - seemingly indicating that she will soon assert control over her life and change the outcome.
show less
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Associated Authors
Statistics
- Works
- 62
- Also by
- 2
- Members
- 1,199
- Popularity
- #21,406
- Rating
- 3.4
- Reviews
- 9
- ISBNs
- 119
- Languages
- 6