By Julie Sara Porter
Bookworm Reviews
Spoilers: There is an old trick or piece of advice with storytelling. It’s “Tell people what you are going to tell them. Tell them. Then tell them what you already told them.” It works well when you are writing short works like a review, a political column, even a short story or a novella. It doesn’t work so well when you are trying to write a longer work like a novel. That’s the biggest problem with Judith Jackson-Pomeroy’s novel Weight of a Woman, a romance with fascinating leads but not enough to do that changes them.
Sara Wolfe is a Women’s Studies college professor and outspoken Feminist. She is a popular teacher and bonds with her students. She is in a long term but open relationship with Tom, another professor and has close friends in Jane, director of the Women’s Resource Center and Marco, an award winning poet. Even though she is well respected at this university, she has her sights set on a Wellesley fellowship. However, her seemingly perfect life hides some disturbing secrets. While attending a concert with her friends, Sara becomes enamored with Seth, a rock singer who is also one of her students. As if a romance with a student wasn’t controversial enough, Seth also has secrets of his own that could jeopardize his career and his relationship with Sara.
The sad part is Weight of a Woman is actually very good, particularly in terms of characterization. The core romance is between two people who are seriously damaged and are in desperate need of psychiatric care. The type of romance that could strengthen or tear them apart and this book suggests that this s in danger of doing both.
Sara projects an image of great confidence, wisdom, and integrity who courageously shares her convictions and stands by them. But that image disguises the troubled broken soul underneath. Her relationship with Tom is very toxic and emotionally abusive as Tom condescends her with his misogynistic and homophobic views and chips away at her Feminist views as a means of control.
She is riddled with insecurities and anxiety that manifests itself as severe Anorexia. She starves herself and degrades her own appearance. In social situations, where she has to be seen eating, she chews her food, but doesn’t swallow. Instead, she empties it out into a napkin.
Sara is also a sexual assault survivor which has given her massive PTSD and trust issues. She can’t trust the men that she’s involved with and often has a hard time trusting herself. She stands as a paragon of Feminist values because they represent the type of woman that she wants to be, not the woman that she actually is.
Even though Seth expresses his views through his songs and is just as committed to his beliefs as Sara is to hers, he has problems of his own. His music career is at a crossroads and he is torn between staying true to his artistic integrity and signing with a major label to get more money and exposure but selling out.
Similar to Sara, Seth also has self-destructive tendencies. He has a history of cutting and is addicted to various drugs. Like Sara, he also projects an air of charisma and creative defiance, but his addictions reveal his vulnerabilities. He can't hide the needle marks on his arms or scars on his body just like Sara can't hide her dangerously thin weight.
Sara and Seth are memorable characters, either alone or together. This book is a brilliant character study of this pair.The conflicts are interesting because they expose their frailties and leave them at their most naked, honest, and defenseless. Unfortunately, Sara and Seth are hampered by constant repetition and little changes in their development.
There are only so many times where we can hear the characters argue about the same things over and over. Marco and Jane arrange various interventions for Sara so often that they are practically scheduled. Sara and Seth confront one another about their addictions but these confrontations appear to have little bearing since they still fall into them. Yes, that happens often in real life where people often don't seek help or have the same issues and this book brilliantly explores that. But at the same time, it also stands as a red flag for why Sara and Seth might not be good for each other.
Their disagreements about the trajectory towards Seth’s recording career, particularly his selling out, are almost hypocritical on Sara’s part since she too desires to ascend to a higher position with more money. Also they are divided by different views on sexuality which is a huge wedge between them that becomes more prominent the more they argue about it.
The book could benefit from a tighter narrative structure with more character self reflection and evolution. While individually, Seth and Sara are intriguing and could be a compatible happy couple, they could just as easily break up. They already have plenty of emotional baggage and different views on how they see their future. Because of having the same arguments and discussions, they can’t seem to reconcile them. A late complication suggests happiness, but it could just as easily lead to more strife and trouble.
Because of the little change in character, Pomeroy does them a huge disservice. She gives plenty of good reasons why they need to work on themselves and get some serious psychiatric and emotional help separated or at least as friends. But she doesn’t give us enough good reasons why we should be rooting for them to stay together.
