The Big Hole: A Memoir of Appetite

Published by Sunday, May 31, 2026 Permalink 0

by Leo Racicot

Are you the type of person who savors? Do you “ooh” and “ahh” over the garnish before a fork ever touches the plate? Do you sniff the bouquet of a wine bottle with the intensity of a bloodhound before allowing the sommelier to pour?

I am not that person. I am a “dig in and devour” sort of soul, a man with zero regard for ceremony. I suspect this habit was forged in the fires of public humiliation. Every time we went to a restaurant, my aunt would look at the server and bark: “Pile it on; Little Leo’s got a big hole to fill,” most decidedly not a charming thing to say to a total stranger about a sensitive child.

Years later, therapists would use clinical terms like “out-and-out abusive behavior” or “shaming.” At the time, I just felt like a glutton—a pig in a clip-on tie. Consequently, I never learned to savor. I only learned to hide. In formal company, I eat daintily, performing a slow-motion ballet with my peas. I have a friend, Joe—a lifetime Member of the Clean Plate Club—who eats so slowly it makes me lose my appetite. He divides his food into geometric sectors; neat little architectural piles he forks up until the ceramic beneath is squeaky clean. Dishwashers must want to marry him.

But when I’m alone? I am a human Hoover. I wolf down the meal before it has a physical chance to cool. There is a specific, quiet shame in outrunning the steam on your own plate. In school, they teach us “moderation.” Those lessons didn’t just miss me; they hit a wall and died. When I’m stress-eating, I have no idea what I’m shoveling into my face. I’m just a conveyor belt for salty-sweet snacks—popcorn, chips, and candies engineered by scientists to turn humans into addicts.

I once ate a banana I liked so much that I immediately proceeded to eat eleven more. I paid the price for that potassium heist for three days. I was apparently born with elastic bowels, or maybe decades of “gourmandizing” transmogrified them into a Power Gut.

The result? I am a relentless, world-class farter. My “Ozark Mountain Bear” blasts earned me the nickname Fartman among housemates. It’s a dubious distinction—one Stan Lee never saw fit to include in the Avengers, though the Gas-Based Avenger certainly has a ring to it and could easily send scurrying for the hills huge numbers of villains.

If you look at photos of me before age seven—before my father died— you see a happy, slender boy. Photos taken after “Papa’s Leave taking reveal a somber face, a much heavier body. A deep, caloric depression had set in.

Well into my twenties, I remained a melancholy entity; I’d pose, looking heavenward, as if expecting an apparition of the Virgin Mary to manifest on the ceiling. The only panacea for grief was a giant bowl of tortilla chips and a half-gallon of Ben & Jerry’s Cherry Garcia. The concept of “saving some for tomorrow” never occurred to me. Willpower? I don’t know her.

I hated being heavy. Fat makes the simple act of existing uncomfortable; chores become marathons and bending over becomes a logistical challenge. I put myself on a thousand Lenten sacrifices that never outlasted the sunrise. Whenever I’d hear a fellow fattie proclaim they were “fat and happy”, I’d abandon my abstinence in a flash—at least until I had to walk five feet to the corner store and ended up huffing and puffing like a broken locomotive.

I even tried Ayds. Yes, the 1970s weight-reduction candy with the most unfortunate name in marketing history. It tasted like “The Farm”—and not the good part of the farm. My mother eventually staged an intervention: “I’d stop taking those if I were you.”

My counselor says I have body dysmorphia; in my head, I’m always just a “Fat Guy” walking around belching. But I’ve found grace in odd places. Once, at the legendary M.F.K. Fisher’s table, I let out a burp I couldn’t stifle. She rescued me instantly, explaining that in Japan, a loud belch is a mandatory compliment to the cook. Suddenly, my gastrointestinal lapses weren’t “crude”—they were “international etiquette.”

There are, however, limits. I once sat through a field trip lunch where my classmates dared me to eat cow’s tongue. I declined, focusing instead on the “sides”. Then there was my friend Edmund White. Bless him, he was trying to cook a “comeback” meal after a series of strokes. The problem was, Ed had just been… intimate with a less-than hygienic 8th Avenue street hustler. After his encounter, he didn’t wash his hands before tearing the lettuce and buttering the bread.

When he plopped the steak down, it was so rare I thought he’d dragged the cow in straight from the arena. I gagged. I spent the night “appreciatively” chewing on lettuce leaves, unable to tell him that his “achievement” was my culinary cauchemar. I’ve noticed the trajectory of the human body. In our 50s and 60s, we thicken and bloat. We expand to fill the space. But then, as the clock winds down, the body begins to dissipate. It wears out.

In a way, I think it will be a relief to make that final return to the slender boy of my early youth. One day, the relentless craving for mountains of ice cream and cookies will simply stop. The “Big Hole” will finally be filled.

 

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Women Who Eat Too Much — In Art

Published by Friday, March 6, 2015 Permalink 1

by Elatia Harris

Can minor masters be too cruel? Let’s take a look at that.

For even apparent cruelty, in painting, can be far less, far greater, and far different than it appears. A recent conversation about the small differences between gluttony and gourmandise made me want to find out if painting itself offered some answers.

 

Boris Kustodiev, The Merchants Wife, 1898

Boris Kustodiev, The Merchants’ Wife, 1898

The Glutton, by Ludwig Knaus, 1897

The Glutton, by Ludwig Knaus, 1897

 

Boris Kustodiev was a Russian artist and set designer who died in the 1920s. He confessed to being dedicated to expressing cheerfulness and love of life in his painting. His childhood was one of terrible hardship. His widowed mother rented tiny quarters for the family in a rich merchant’s home. Ever after, he would figure forth the bounty of that way of life, that he amply observed, but could not touch. “It was right under my nose,” he would say. “Like something out of an Ostrovsky play.”

The merchant’s wife, above, lacks for nothing, certainly not for the excess flesh that was then a sign of class, wealth and health. Is there satire in his depiction of the merchant’s wife? Sleek as an otter, idle as a carp in a Medici pond, she is surely being sent up by the artist, we might think. But click the image to enlarge it, and look at her face. She appears intelligent and discerning, as if she were truly tasting her tea. She is one of many such women in his body of work, living the good life among radiant colors and exquisite foods. Maxim Gorky had a great fondness for this type of work by Kustodiev, and Ilya Repin, a Tolstoyan figure among Russian painters, was his early mentor. Russians who love his work and know his life story, which ended in years of illness and disability, sense only a mood of radiant optimism in his themes and their treatment.

Ludwig Knaus was one of the best loved, best paid, busiest, and finally, most decorated artists in 19th century Germany. As a portrait artist, he was spoken of in the same breath as Lenbach and Winterhalter.  As a genre painter, all Europe knew him through engravings of his rural scenes. He died famous, in 1910. In our own era, he’s a case study of an artist whose message need not be heard.

The glutton, above, has a nicer title in German — Die Naschkatze, or, The Sweet Tooth. The very slender brunette of middle years is caught out enjoying a sweet from a paper cone, and not very decorously. One leg is thrown over the other, her mouth is full, and she’s in a condition of undress. Does the painter mean us to find this charming? The woman is pretty, and she’s enjoying herself, after all. But, we like her better than he does — don’t you think?

In 1878, Knaus participated in an important Paris expo with a painting with an unambiguously anti-Semitic theme, not his first. This is another. It’s in a private collection. I wish I knew whose. Suddenly, in this image of a perhaps hungry woman greedily sneaking sweets, there is cruelty too deep, lasting and harmful for words.

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Elatia Harris is a writer and consulting editor in Cambridge, Mass. She is most often at work on books and articles about food, wine, and travel. Contact her at elatiaharrisATgmailDOTcom or via text at 617-599-7159.

 

 

 

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Simon Says: Daily Food Quote, October 7, 2011

Published by Friday, October 7, 2011 Permalink 0

by Simón de Swaan

Gluttony is a great fault; but we do not necessarily dislike a glutton. We only dislike the glutton when he becomes a gourmet — that is, we only dislike him when he not only wants the best for himself, but knows what is best for other people.–G.K. Chesterton (1874-1936)

C.K. Chesterton was a prolific English writer. In addition to writing poetry, plays, and philosophy, he also wrote literary and art criticism, biographies, fantasy fiction works and detective fiction. Chesterton has been called the “prince of paradox.”  He is well known for his reasoned apologetics, and even some of those who disagree with him have recognized the universal appeal of such works as Orthodoxy and The Everlasting Man.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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