She put a plate in front of him with bacon, a fried egg, and a waffle. She put another plate on the table for herself. It’s ready, she said. It looks swell, he said.

Subsequent homophobia play a large role in three of Raymond Carver's short stories: “They're Not Your. Most present in the story “They're not Your Husband.” Indeed, the. Constant scrutiny of his performance he will never be free. Carver’s THEY’RE NOT YOUR HUSBAND Language is especially significant in Raymond Carver’s short story, “They’re Not Your Husband.” In a delightful and clever way Carver exposes the main character, Earl Ober. One evening Earl Ober, an out-of-work salesman, visits his wife, Doreen, in the restaurant where she works.

He spread butter and poured syrup over the waffle, but as he started to cut into the waffle he turned the plate into his lap. I don’t believe it, he said, jumping up from the table. The girl looked at him, then at the expression on his face, and she began to laugh. If you could see yourself in the mirror, she said and kept laughing. He looked down at the syrup that covered the front of his woollen underwear, at the pieces of waffle, bacon, and egg that clung to the syrup. He began to laugh.

I was starved, he said, shaking his head. You were starved, she said, still laughing. Earl drank his coffee and waited for the sandwich. Two men in business suits, their ties undone, their collars open, sat down next to him and asked for coffee. As Doreen walked away with the coffeepot, one of the men said to the other, “Look at the ass on that. I don’t believe it.” The other man laughed.

“I’ve seen better,” he said. “That’s what I mean,” the first man said. “But some jokers like their quim fat.” “Not me,” the other man said. “Not me, neither,” the first man said.

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“That’s what I was saying.” Doreen put the sandwich in front of Earl. Around the sandwich there were French fries, coleslaw, dill pickle. “Anything else?” she said. “A glass of milk?” He didn’t say anything. He shook his head when she kept standing there. “I’ll get you some more coffee,” she said.

She came back with the pot and poured coffee for him and for the two men. Then she picked up a dish and turned to get some ice cream.

Studiju rezultāti Sekmīgas kursa pabeigšanas gadījumā studentu spēs iepazīties, sasveicināties, uzdot vienkāršus jautājumus, runāt par laikapstākļiem, ģimeni, ēdienu, ceļošanu, hobijiem u. tml.

She reached down into the container and with the dipper began to scoop up the ice cream. The white skirt yanked against her hips and crawled up her legs. What showed was girdle, and it was pink, thighs that were rumpled and gray and a little hairy, and veins that spread in a berserk display.

When I serve his soup, I see the bread has disappeared again. He is just putting the last piece of bread into his mouth. Believe me, he says, we don’t eat like this all the time, he says.

You’ll have to excuse us, he says. Don’t think a thing about it, please, I say. I like to see a man eat and enjoy himself, I say. I don’t know, he says.

I guess that’s what you’d call it. He arranges the napkin. Then he picks up his spoon. God, he’s fat! Says Leander. (14) “Fat” and “They’re Not Your Husband,” then, follow a similar trajectory.

In both, Carver begins by drawing attention to the investment in guilt and temptation in the diner and presents it as a place of bodily judgement. Having established this, he then shows why some of these judgements, and the assumptions behind them, are flawed. Thus, just as the first story skewers the men’s humiliation of Doreen, so the second dwells on the incessant disparagement of the fat man and begins to suggest that there is something compulsive, obsessive, about it. At odds with his own genteel manner, the other characters’ rudeness about him grows so relentless as to seem, eventually, a pleasure all its own. Carver seems to suggest that they find self-validation, self-reinforcement, through their luxuriant horror at his gargantuan, grotesque body. But their disgust, operating in this way, can not only reveal that the personal freedoms of the American diner have a limit and indicate that the choices on the menu are meant to perform a symbolic rather than a practical function.