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Content Warning: This section of the guide includes discussion of disordered eating.
In Piglet, Lottie Hazell explores the relationship between food and class in Great Britain, highlighting how a household’s chosen food, its preparation, and its presentation all act as indicators of that household’s class status. This thematic concern is closely tied to Piglet’s desire to build a perfect life with her fiancé, Kit. Piglet associates her working-class family with a lack of culinary taste and sophistication. While Kit’s mother cooks elaborate homemade meals for her family, Piglet’s family relies on cheap takeout: “[O]n Saturday it was a takeaway—Chinese, from the shop in town—and on Friday it was fish” (4). Although Piglet once enjoyed these simple foods, “these routines […] now ma[ke] Piglet feel a crawling embarrassment, a creeping pity” (5). She repeats this idea later in the novel while preparing an elaborate dessert for a dinner party and reflecting on the simple desserts that her mother served. She thinks that “their easy ways—their yellow custard in a Pyrex jug on the small dining table, draped in doilies—embarrass[] her” (35). Piglet’s repeated use of the word “embarrass” reflects her shame in the working-class foods she grew up with.
As a cookbook editor, Piglet aims to signal her entrance to the upper class through the foods she prepares for her friends and family. For her first meal in the Oxford home, Piglet cooks a roast chicken using a recipe developed by celebrity chef Nigella Lawson. Despite the heat of summer, Piglet is determined to roast the chicken because she “had once heard Nigella say something about a house only being home once a chicken was in the oven” (4). The reference to Lawson—whose appeal is based on her upper-class aristocratic persona—reflects Piglet’s desire to mimic that lifestyle in front of her friends and family. Later, when hosting a dinner for her family, she intentionally tries to broaden their culinary horizons by providing posh food and drink. Knowing that her future brother-in-law, Darren, prefers beer, “she had purposefully passed over the Carlsberg and the Coors and purchased brown bottles of Westmalle, a golden beer she had read was one of the best blond ales you could buy on this side of the Channel” (61). Piglet’s refusal to serve basic beers such as Carlsberg and Coors reflects her desire to push her family past what she sees as their pedestrian tastes. Further, the fact that she researches the best beers and believes that European beers are superior to English beers suggests that she sees the relationship between food and class as extending beyond Great Britain. With Piglet’s attempt to transcend her family’s class through food and drink choices, the novel suggests that not only are food and class linked, but Piglet also believes that shaping one’s food choices to reflect class can actually facilitate upward social mobility.
Throughout the novel, Piglet struggles with body-image issues and feels intense pressure to be thin. Her struggles with her body image are closely tied to her tendency to compare herself to others. At work, she compares herself to her boss, Sandra: “[S]he always felt bigger than should be allowed, but next to Sandra’s petite frame she felt especially huge” (39). While exercising with her future mother-in-law, Cecelia, she compares Cecelia’s legs to her own, which she imagines are “packed as tightly as sausages, bulging beneath her” (47). Later, while trying on wedding dresses, Piglet looks “at her sister—shorter, smaller—and fe[els] ashamed at the sight of her own skin” (65). Piglet’s obsessive tendency to compare herself to others results in severe body-image issues, highlighting how society’s preoccupation with thinness can come to dominate a person’s life and emotions.
Piglet’s sister, Franny, also has a history of body-image issues, which the novel suggests are closely tied to Piglet’s. As a child, Franny developed disordered eating that manifested on her 13th birthday. Franny had a panic attack at the idea of eating cake at her birthday party, telling Piglet, “I can’t have people watching me eating it. I can’t, I can’t” (71). The severity of her disordered eating is reflected in the intensity of her physical response: “Franny had screwed up her eyes, pressing the heels of her hands to her face […] She had started to shake her head, slowly at first, but then violently” (71). The use of active verbs such as “screw” and “press” and the intensifying adjective “violent” suggests that Franny’s body-image issues even had a physiological effect on her.
As the wedding approaches, Piglet begins to feel intense pressure to be thin. She exercises daily, and when “she fe[els] the echo of her own flesh, reverberating as she move[s], she intensifie[s] her efforts until her legs burn[], her chest heave[s], and sweat pour[s] into her eyes” (33). This passage emphasizes her keen awareness of her body and her desire to be smaller before the wedding. Piglet’s desire to be thin is most evident in the scene where she picks up her wedding dress. Watching herself in the mirror, “Piglet trie[s] to make her body smaller, drawing in her shoulder blades, arching her back” (115). Her attempts to contort her body cannot disguise the fact that she is “a tall woman with broad shoulders wearing a dress that was designed to make her look smaller than she [i]s” (115). The fact that Piglet feels intense pressure to be thin even at her wedding highlights the intensity of her body-image issues and how deeply society’s preoccupation with thinness can affect a person even on what should be a happy, carefree day.
The pressure to build a seemingly perfect life and its effect on one’s happiness is an important theme throughout Piglet, and it preoccupies Piglet even amid the stress of Kit’s betrayal. This pressure manifests in Piglet in a variety of ways, including a preoccupation with clothing and a desire to be seen as better than others. At multiple points in the novel, Piglet speculates about how others will assess her clothes. For her first dinner party at the Oxford house, she wears a “dress, ivory white and peppered with eyelets [which] sp[eaks] to her of summertime, of evenings drinking ouzo in Santorini” (8). The reference to Santorini, an expensive Greek vacation destination, reflects her desire to be seen as a posh European sophisticate. Later, when her family visits from Derby, she wears an outfit “modelled on her mother: clothes obscured beneath an apron, a woman hosting in her own home” (58). Here, Piglet aims to be seen as an example of perfect domesticity in order to impress her family without overwhelming them. Piglet’s preoccupation with clothing reflects her desire to build a life that appears perfect to others, and the care with which she chooses her outfits shows her recognition of the impression that the right clothes can make.
Another part of Piglet’s obsession with perfection is a desire to be seen as better than others. While preparing freezer meals for her pregnant friend Margot in the early morning, Piglet visualizes herself in the kitchen “preparing to labour while everyone else [i]s asleep” (22). This passage suggests that Piglet is interested in more than just helping her friend; she also wants to be seen as helpful by others. She is also especially interested in being seen as better than her working-class family in Derby. By hosting her family, cooking elaborate meals, and lending her sister money, she hopes to be seen as “superior: the host, the dispenser of food, of finance” (102). Piglet’s desire to be seen as superior to her family is closely tied to her perceptions of class and the pressure that she feels to transcend her family’s working-class background in order to create the perfect life.
Ultimately, Piglet realizes that her desire to build a life that appears perfect to others has made her deeply unhappy. Because her primary focus was a life that looked good, rather than a life that was good, she is left unfulfilled. The interstitial epigraphs are filled with doubts about the validity of her life, which Piglet “ha[s] so carefully built, so smugly shared” (31). Piglet questions, “[H]ow much of this life could be true when it had been built around a lie?” (150). The novel suggests that although societal pressure to build the perfect life is pervasive, in the end, inhabiting a life focused on the perception and approval of others is not sustainable.



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