Nothing Tastes as Good

Luke Dumas

Nothing Tastes as Good

Luke Dumas
67 pages2-hour read
Fiction
Novel
Adult
Published in 2026

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Symbols & Motifs

Content Warning: This section of the guide includes discussion of illness, graphic violence, physical abuse, emotional abuse, ableism, and disordered eating.

Monstrosity

The novel uses monstrosity as a motif to explore how dehumanizing labels can be internalized to the point of self-definition. From the outset, Emmett feels monstrous in his own body, a perception reinforced by a society that treats his size as a personal moral failing. The company that promises him a cure, Monstera BioSciences, has a name that literally evokes monsters, foreshadowing the horrifying transformation it facilitates. Instead of curing Emmett’s obesity, the drug Obexity brings the metaphorical monster to life, turning his internalized shame into an external, cannibalistic reality. This transformation culminates in Dr. Saito’s chilling admission that the monstrous side effects are a feature of the drug. When she explains why she and others embraced the drug despite its dangers, she states, “According to society, we’re already monsters” (297). Her comment reveals the novel’s dark argument: If a marginalized group is perpetually treated as inhuman, some may eventually choose to embrace monstrousness as an act of power and revenge. This dynamic illustrates the most severe outcome of The Violence of Body Shaming, suggesting that a society that creates monsters through ostracization and abuse should not be surprised when those monsters turn and bite back.

Hunger

Hunger is a pervasive motif that evolves from a physical and psychological craving for food into a terrifying, literal hunger for human flesh. In the beginning, Emmett’s life is defined by his disordered eating and the constant, gnawing “hunger” that’s distinct from simple physical need. This craving is fueled by a lifetime of shame and a desire for comfort. 


The novel draws a direct line between deprivation and obsession, as detailed in Dr. Smith’s memo about a historical study on dieters who developed a dependent relationship on food. One subject “stuff[ed] himself until he [wa]s bursting at the seams […] and still fe[lt] hungry” (302). This scientific observation validates Emmett’s experience, framing his binge eating as a predictable response to the cycles of dieting and restriction. 


As Obexity takes hold, this familiar hunger transforms into something more sinister. The craving for junk food is replaced by a craving for raw meat and, eventually, people. This shift symbolizes the ultimate perversion of Emmett’s desire; the hunger for social acceptance becomes a hunger for revenge against those who denied it to him. Hunger thus becomes the engine for his entire tragic journey, from a man desperate for a cure to a predator controlled by his appetite.

“The True Me”

The phrase “the true me” is a recurring motif that charts Emmett’s tragic journey of self-discovery and the corruption of identity. Initially, it represents his hope for a better life; as the title of his blog, it signifies the thin, happy, and socially accepted person he believes is trapped inside his body. This concept is the cornerstone of his desire to lose weight, reflecting the widespread cultural belief that people’s authentic selves are waiting to be revealed by physical transformation. 


The phrase is later co-opted by Monstera BioSciences for their marketing campaign, “Becoming the true you” (276), demonstrating how corporate interests exploit the deeply personal language of self-actualization as part of The Exploitative Nature of the Weight-Loss Industry. The motif’s meaning reaches its destructive conclusion during the climax atop California Tower. As the Obexity in his system reacts to stress, Emmett’s body rapidly gains weight, and in a moment of defiant self-acceptance, he screams, “This is the true me!” (321). In this final reclamation, the “true [him]” is the monster created by a lifetime of trauma and a dangerous drug. It’s the ultimate expression of his identity, forged in pain, shame, and revenge.

Portrait of a Man-eater

The painting Portrait of a Man-eater is an important symbol for the historical moralization of physical appearance, which frames conditions like obesity as personal moral failings. When Emmett first encounters the portrait in the Savage Hunger exhibit, it foreshadows what he’s about to experience with Obexity. The painting depicts a17th-century nobleman who claimed that a “medicinal tonic” cured his ailments, but it left him with a hunger for human flesh. This historical precedent suggests that Obexity’s monstrous side effect is a curse for people who merely want to improve their health or are seeking social acceptance. 


The symbol’s full significance is revealed when Emmett discovers that the painting’s acquisition by the museum was made possible by the man he knows as his abusive former stepfather. The plaque under the portrait reads, “Made possible by the generosity of Cecil H. Smith, PhD” (309). This detail directly links the creator of Obexity to the painting’s sinister legacy, exposing his long-standing obsession with creating such a “tonic” himself. The portrait symbolizes the deep, historical roots of depravity behind The Exploitative Nature of the Weight-Loss Industry, revealing that Obexity was the intentional recreation of an old and terrible monstrosity, designed by a man who has long been fascinated by the power to create man-eaters.

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