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28 pages 56 minutes read

Carmen Maria Machado

Her Body and Other Parties

Fiction | Short Story Collection | Adult | Published in 2017

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Story 5Chapter Summaries & Analyses

Story 5 Summary: “Real Women Have Bodies”

The main character works at a trendy store in the mall called Glam, which sells delicate dressers. She main character notices something strange about the dresses. At times they seem to move of their own volition. She soon becomes friends with Petra, a tomboy who supplies the store with the dresses. After she has sex with Petra for the first time, Petra shows the protagonist where the dresses come from. Petra’s own mother sews the dresses. Petra takes the main character behind the scenes, where the main character sees the specters of “faded women” who are sewing themselves into the dresses themselves. At this time, society is plagued with this condition of women who are simply fading away, unable to hold mass in their own bodies.

Unable to stop thinking of the women in the dresses, the main character stops working at Glam. She recounts, “Deep in the thick folds of the satin, I see lidless eyes” (137). The main character and Petra continue to develop their relationship when Petra begins fading away, her skin more like “skim milk than whole” (139). The narration of the story implies that it will only be a matter of time before all women fade away. After Petra fades away completely, the main character frantically goes back to Glam to try to free the women from the dresses. She does not succeed.

Story 5 Analysis: “Real Women Have Bodies”

“Real Women Have Bodies” allegorically analyzes the power of the fashion industry by implying that an emphasis on female body image and presentability leads to the literal fading away of female agency. The story plays with the motif of popular culture through fashion to deliver a poignant critique of fashion’s role in oppressing women. In the story, Glam, a trendy boutique, continues to successfully peddle its dresses even though the owners are aware that women’s bodies are literally sewn into each piece. This complacency leads to a profound isolation on the part of the surviving women, who understand that it is only a matter of time before they fade and become garments as well.

This critique of fashion pairs well with Machado’s later interrogation of body image in “Eight Bites,” creating an arc between the two stories and their engagement with popular culture. These thematically linked stories point to a cause-and-effect relationship between capitalist markets based on female body image and the deterioration of female self-esteem.

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By Carmen Maria Machado