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BeckyAll names have been changed. has been active in the fat acceptance movement for a good half-dozen years. She attends and organizes awareness-raising events, takes part in her local fat social scene, and fights to end discrimination against fat people with a powerful combination of weary sadness and righteous anger. She wears her weight like well-adorned armor, betraying no sense of regret or shame in her 480-pound body.

Becky also has an eating disorder.

“Obesity,” declares Charlotte Cooper, author of 1998’s Fat and Proud: The Politics of Size, “is just a word used by people to medicalize fat.” Extra weight, once considered a genetic short straw, is increasingly characterized as a crisis threatening the physical, political, and moral health of our nation—even as large bodies are becoming increasingly visible in popular culture.

You’ll recognize the female silhouette that leans against the title on the cover of Ariel Levy’s new book, Female Chauvinist Pigs. She’s the girl who in recent years has made the move from the mud flaps of big rigs right into pop culture, gracing trucker caps, baby tees, and gold necklaces as an emblem of sexy, empowered ­womanhood. Or at least that’s what she’d like you to believe. But Levy doesn’t buy it, and Female Chauvinist Pigs offers her opinions on why this new symbol of postfeminism—the girl gone wild, the party-like-a-porn-star striver, the woman who populates HBO’s “educational” reality shows like Cathouse and Pornucopia—isn’t nearly as groundbreaking as she thinks she is.