Lifestyle
Gut troubles? This gastroenterologist has tips to help you achieve ‘poophoria’
DBenitostock/Moment RF/Getty Images
Forty percent of Americans have their daily lives interrupted by uncomfortable bowel symptoms, according to the American Gastroenterological Association. That’s a lot of troubled guts.
But Dr. Trisha Pasricha says at the other end of the spectrum, there are people who experience “poophoria.” That’s Pasricha’s term for a state of being where doing your business is painless and worry-free. “ I just want you to poop quickly, effortlessly, and then go live your best life,” she says.
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Pasricha is the director of the Institute for Gut-Brain Research at Beth Israel Deaconess Medical Center, an assistant professor of medicine at Harvard Medical School, and writes for the Washington Post. She also treats patients with IBS and other painful digestive issues that can be tricky to diagnose.
Pasricha’s is not a one-size-fits all approach. There’s no magic number of times you need to go in a day, nor a perfect color or consistency that means you’re healthy or normal, she says. But if you often struggle with issues like bloating, constipation or diarrhea she wants you to know: There’s a better way to poop.
In her new book You’ve Been Pooping All Wrong: How to Make Your Bowel Movements a Joy Pasricha lays out evidence-based habits and practices to make your relationship with your solid waste as smooth as possible. Here are some of her most tried-and-true tips. Pasricha offers much of this advice to her patients — but following it just might save you a trip to the doctor.
Do: Take a look at your Number 2
A lot of people are shy about looking at the toilet bowl but Pasricha says you can learn a lot if you do. Very hard, small lumps or watery, soupy liquid are both cause for concern. A spectrum of shades is fine — but seek medical attention if you see black or whitish stool. A red or maroon color may indicate bleeding, or it can just give you insight on how long it took you to digest those beets.
When it comes to how often you go, there is a normal range: Pasricha says having a bowel movement anywhere from three times a day to three times a week can be perfectly healthy.
Do: Eat more fiber, and experiment with spices
Why is fiber at the top of the list when it comes to digestive health? It’s a real problem-solver even in the short term, Pasricha says. “If you have diarrhea, it forms this gel that kind of pulls it together and makes it more formed. If you have constipation, it softens it up,” she says.
Even more importantly, fiber is food for the microbes in your colon. Those microbes in turn produce short-chain fatty acids that reduce inflammation in the gut. Some of these fatty acids like have been linked to lower risk of colon cancer, and reduced risk of heart attack and dementia.
Since most people don’t get enough fiber in their diets, Pasricha often recommends a psyllium supplement — a plant-based powder that you can mix into water or coffee. Or you can learn which foods are high in fiber and amp up your intake.
Loading up on spicy food cooked with hot peppers can sometimes kick your bowel movements into overdrive, and not in a good way. ”But if you eat just the right amount, it can actually, in the long term, prevent pain and help you stay regular,” Pasricha says. Other seasonings including mustard, oregano, garlic and horseradish have been shown to stimulate the same nerve receptors.
Don’t: Consume a lot of ultra-processed foods and artificial sweeteners
Research has found concerning links with ultra-processed foods and digestive troubles. Specifically some additives and emulsifiers appear to “decrease the mucus barrier that’s on our guts, and can change the microbes,” Pasricha says. A study she cites in her book of over 200,000 human participants found that people who ate higher amounts of ultra-processed foods were 20% more likely to have irritable bowel syndrome compared to those who ate the least.
Pasricha also advises her patients to steer clear of foods with artificial sweeteners — often advertised as sugar-free — because they’re known to cause diarrhea and bloating.
Don’t: Spend more than 5 minutes on the toilet
Researchers think that sitting for extended periods on a toilet seat with an unsupported pelvic floor can increase risk for hemorrhoids. Hemorrhoids are actually something we all have, Pasricha says. They’re cushions of veins that sit inside the rectum. Sitting suspended over the toilet bowl for too long may weaken the connective tissue around the hemorrhoids, “and those veins start to bulge, then they pop out and they become inflamed and angry,” she explains.
What to do instead: Get up and move your body
If you’re perched in the bathroom for more than five minutes without results, take a movement break. Any amount of exercise can be beneficial, Pasricha says. “Studies have found that even just a brisk walk will be enough to help stimulate contractions of your bowel movement.”
Don’t: Bring your phone to the throne
After seeing a study from Great Britain from 1989 about people reading the newspaper in the loo, Pasricha decided to try an updated version in her own lab. She focused, of course, on smartphone use. Her team at Beth Israel surveyed 125 people about their lifestyle and bowel habits. Then the patients went in for colonoscopies and the doctors noted whether each patient had hemorrhoids or not.
The result? People who said they used their smartphones on the toilet were 46% more likely to have hemorrhoids than those who went device-free. “We found out that you were five times as likely to spend more than five minutes in the bathroom if you brought your smartphone in,” Pasricha says.
Aside from distracting you from the job at hand, Pasricha points out that there’s plenty of research on the stress-inducing effects of social media. “ You’re doom scrolling. You’re like getting caught by some rage bait,” she says. And stress can make it harder for the muscles in your pelvic floor to relax enough to clear the pipes..
What to do instead: Try some light print material
When she was a kid, people used to keep “bathroom reading” within easy reach of the seat, Pasricha notes with nostalgia. “To me, the ideal bathroom reader is something that gives you quick takes like a comic book, like short magazine articles, and ideally it should be from like three months ago,” she says.
If you absolutely must look at your phone, Pasricha tells patients to set a “two TikTok limit.” ”That’s, I have to bring my phone in, but after two TikToks, I’m gonna check in with myself and make a decision.”
Do: Squat, and lean forward
When you’re sitting at a 90-degree angle, a muscle called the puborectalis curves around the colon like a sling and helps keep it shut. But when you’re defecating, you want the tube of your bowel to be able to straighten out. And that’s where squatting comes in.
Pasricha says there’s no need to abandon the comfort of a modern toilet — instead put a stool or a pair of yoga blocks under your feet to raise your knees higher than your hips. “That basically allows that muscle to relax so that the tube straightens up again,” Pasricha says.
And to perfect your pooping posture, look to the famous sculpture, The Thinker by August Rodin. The figure is leaning forward, resting his elbows on his knees. There’s research suggesting “that’s the optimal way,” to help straighten the angle of the tube, says Pasricha.
Gut health is complex, and can change with age, shifts in lifestyle, and a whole number of other factors. If something seems off, don’t be shy about bringing it up with your doctor, Pasricha says. “ I get a lot of pictures of poop in my clinical messaging tool and I mean, it’s very helpful.”
Sunday Puzzle
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This week’s challenge
Today’s puzzle is a tribute to Mimi. Every answer is a familiar two word phrase or name in which each word starts with the letters MI-.
Ex. Assignment for soldiers –> MILITARY MISSION
1. Pageant title for a contestant from Detroit
2. One of the Twin Cities
3. Nickname for the river through New Orleans
4. Super short skirt
5. Neighborhood in Los Angeles that contains Museum Row
6. Just over four times the distance from the earth to the moon
7. Goateed sing-along conductor of old TV
8. American financier who pioneered so-called “junk bonds”
9. Little accident
10. Land-based weapon in America’s nuclear arsenal
11. In “Snow White,” the evil queen’s words before “on the wall”
Last week’s challenge
Last week’s challenge comes from Benita Rice, of Salem, Ore. Name a famous foreign landmark (5,4). Change the eighth letter to a V and rearrange the result to make an adjective that describes this landmark. What landmark is it?
Answer
Notre Dame –> Renovated
Winner
Chee Sing Lee of Bangor, Maine
This week’s challenge
This week’s challenge comes from James Ellison, of Jefferson City, Mo. Think of a popular movie of the past decade. Change the last letter in its title. The result will suggest a lawsuit between two politicians of the late 20th century — one Republican and one Democrat. What’s the movie and who are the people?
If you know the answer to the challenge, submit it below by Thursday, April 23 at 3 p.m. ET. Listeners whose answers are selected win a chance to play the on-air puzzle.
This story is part of Image’s April’s Thresholds issue, a tour of L.A. architecture as it’s actually experienced.
A landmark is a landmark because it tells you that you’re home now — the piece of earth you’ve chosen to inhabit saying, “You’ve made it back, congratulations.” We identify our cities with their landmarks, and because we identify with our cities, we identify with the landmarks too. They are us and we are them, mirroring each other through eternity. A city like New York or Chicago, with the Chrysler Building, the Bean, etc., has landmarks that exist in the world’s popular consciousness. But L.A.’s most cherished landmarks belong to us and us alone, a secret you’re let in on if you live here long enough and pay attention.
The Fashion Nova baddie in horizontal sprawl off the Vertigo, for example, is an emblem for those in the know. Our twisted version of a capitalist guardian angel, patron saint of spandex in a cropped matching set. Welcome to El Pueblo de Nuestra Señora la Reina de los Ángeles de Fashion Nova. Merging on the 110 South from the 10 East while the sunset burns and traffic thickens is a miracle in more ways than one, and in the spirit of compulsively performing the sign of the cross when you pass a church on the freeway, this billboard is deserving of its own acknowledgment.
It may not be the landmark L.A. asked for, but in Sayre Gomez’s painting “Vertigo,” you begin to understand why it’s the one we deserve. At the opening for “Precious Moments,” Gomez’s solo show at David Kordansky, the room was vibrating. A game of energetic ping-pong unfolded underneath the gallery’s fluorescent light, beams of identification, recollections or stabs of grief bouncing off each piece in the exhibition. People were seeing hyperspecific parts of a city they love reflected in a hyperspecific way — for better and for worse. Recognition has two edges and they both happen to be sharp. Gomez twists the knife deeper for a good cause: He wants you not just to look but to really see.
In his work exist iconic signs of beloved local establishments — like the Playpen — the blinding glint reflecting off downtown’s skyline, telephone poles regarded as totems. The line to see Gomez’s replica of L.A.’s graffiti towers, “Oceanwide Plaza,” snaked through the gallery’s courtyard. Once inside, at least three graffiti writers whose names were blasted on the replica pointed it out proudly, even gave out stickers to take home. The truth can be beautiful and it can be ugly — in this case it’s both — on the flip side showing up in the form of smog, tattered flags and an abandoned graffiti tower that starkly represents the pitfalls of capitalism and greed, a neon arrow pointing to the homelessness crisis.
Because the Vertigo is something everybody who lives here recognizes as central to a sort of framework of Los Angeles. And I think the encampment has become that as well. It’s connecting these integral components — something that’s more revelatory and more fun with something that’s more grave.
— Sayre Gomez
In the main gallery, I was stuck on “Vertigo.” On the 12-foot canvas, my eye went to the place out of focus: the thin strip of billboard in the background featuring a young woman with sand-dune hips, patent knee-high boots and long black hair laid up on her side, wearing cat ears and a tiger bodysuit as flush as second skin. The model made the kind of eye contact that felt dangerous — might cause an accident if you’re not careful. “#1 Halloween Destination … FASHION NOVA,” it read. I knew her, anyone who has driven through the two main arteries of Los Angeles knows her. The black-and-white smiley motif of the Vertigo, an events space, sat right next to her face, just happy to be there, it seemed, above a painted sign that says “Ready to Party?”
The sky was the color of cotton candy, but the stale kind that’s been hardening in a plastic bag for days after the fair. Something rancid about it. In the foreground of the painting was a car encampment with a tattered floral sheet woven through the windows, cloth tarps and couch cushions creating a shield against the elements. Small plastic children’s toys lined at the top of the car — dinosaurs and dump trucks and sharks — creating their own shrunken skyline in front of the Vertigo, signaling that young kids likely lived there. It’s less juxtaposition for juxtaposition’s sake and more an accurate reflection of the breakneck duality of living in a place like L.A.
Even angels exist within the context of their environments. Our Fashion Nova baddie hangs off the Vertigo, a building that has used its ad space as physical clickbait and political posturing for over a decade. It’s promoting the kind of fast fashion brand that’s been regarded as a case study on the industry’s environmental impact. In the years the billboard has been up, it’s looked over dozens and dozens of car encampments like the one depicted in Gomez’s piece.
She feels dubious, yes. But no less like ours.
Julissa James: I’ve lived in L.A. for 13 years now. For me, the city and the architecture of the city is less the Frank Lloyd Wrights and Frank Gehrys — there’s that — but other landmarks that signal, “Oh, I’m home.” The Fashion Nova baddie above the Vertigo has always been that for me. Your piece is layered and there’s so much more to it than just that, but that’s the first thing I saw and was like, “Whoa. I need to talk to Sayre. We need to talk about ‘Vertigo.’”
Sayre Gomez: It’s like L.A.’s Statue of Liberty. It’s the city of anti-landmarks, you know what I mean? I mean, there’s the Hollywood sign, which I think is so telling, because it’s the remnants of a real estate venture. The city is built by real estate schemes and 100 years later we’re feeling the effects of it. You’ve got empty skyscrapers and a massive homeless catastrophe. L.A. doesn’t really have real landmarks. It has anti-landmarks.
JJ: When did the Fashion Nova billboard above the Vertigo click for you as something that felt representative of the city, or something that you wanted to depict?
SG: My studio is in Boyle Heights, so I pass that billboard multiple times a week. This is my 20th year in L.A. and that building’s always been a big mystery to me. It was empty when I moved here before this guy Shawn Farr bought it and turned it into Casa Vertigo. I think he probably makes more money on it with the ad space than anything. I know nobody who has ever been there. Very mysterious to me. So that’s what I was drawn to.
(Paul Salveson from David Kordansky Gallery)
The Vertigo has always been mysterious to me. And that whole fashion industry is mysterious to me — the kind of shmatta, American Apparel-adjacent, or maybe coming out of the wake of that. These kinds of businesses, or the representations of these businesses, how do they function and how do they flourish? Is it aboveboard? What more perfectly encapsulates that than that building? It’s this weird thing you can’t quite figure out but somehow it has a lot of money and then it’s an event space, supposedly billed as that. Clearly it’s this big ad thing, and I’m very interested in the changing dynamics of capital. The capital of yesteryear, which was based on the brick and mortar, where things are being made in a specific location, maybe on an assembly line or in a specific way, to a kind of capital that is based solely on advertising or on viewership. These beautiful buildings acting as pedestals for some kind of ad space, you know? It becomes an anti-landmark for me. Something where I’m like, “Oh, there’s that thing again.”
JJ: It’s this gorgeous Beaux Arts building …
SG: It’s a Freemason building!
JJ: When I’ve talked to some people about the Vertigo, they’re like, “the Fashion Nova building?”
SG: They always have the woman in the same pose — same pose, different clothes. If you remember before Fashion Nova, they would have these provocative ad campaigns or provocative slogans. “Twerk Miley” was up, remember that? They did a Trump one: “TRUMP NOW.” They did one for Kanye when he ran for president. The 10 and the 110 are literally the crossroads of the city, so it’s really poised to be a special building. It has a special designation because of the location.
JJ: Talk to me about the process of doing this piece. Where did it start and how did it evolve?
SG: I was cruising around that vicinity trying to see if I could get a good vantage point to take photos of Vertigo. And then I stumbled upon this car — the car that’s in the foreground of the painting. Anytime I see an encampment that has kids’ toys, things that reference back to the lives of children, it hits hard. But I like to lay it all out there. I like to make things confrontational. I want it to be difficult. The painting isn’t based on a one-to-one photo [Gomez paints from a composite rendering of images he’s taken around town], but I knew that I wanted to use that car, and I knew I wanted to get the Vertigo building, and so I started just messing around with different iterations. I could never find a good angle to take a good photo of the building, so I just went on Vertigo’s website and I was like, “I’m just using these.” I switched the sky and put a more moody, atmospheric sky in.
JJ: Which I loved, because we know that feeling — you’re merging onto the 110 and you see a beautiful sunset. The euphoria of like, “L.A. is the best city in the world.” But you know what? What I found so interesting about your piece is that it was revealing to me about myself, but also about so many of us that live in L.A. and have lived here for years and have developed a jadedness. When I saw your piece, immediately I was like, “Oh my God, the Vertigo! The Vertigo! The Vertigo!” And then I was like, “OK, wait, hold on, there’s so much more going on here.” But the fact that my eye went to that first instead of the car encampment, the kids’ toys, brought up a lot of questions about my own relationship to the city and the things that we choose to see, the things that maybe we’ve seen so much of that we subconsciously filter it out. Why was it important for you to put these two things up against each other in this way?
SG: Because the Vertigo is something everybody who lives here recognizes as central to a sort of framework of Los Angeles. And I think the encampment has become that as well. It’s connecting these integral components — something that’s more revelatory and more fun with something that’s more grave. That’s what I’m doing in my work at large. I use the sunsets and the beauty to create a dialogue, to entice people to sort of look a little bit at how things are contextualized, how things act, what’s actually happening. I don’t make things in a vacuum. I was working on this show and I was going to really push this agenda of incorporating more of my experience with my kids into the work. That’s also a double-edged sword. I wanted to interject some levity, because the work can get so dark. I wanted to bring in some iconography from their world and things that they get excited about. When you’re juxtaposing that with really stark things, it becomes darker. I want to thicken the stock a little bit. Make things a little more complex.
Phil Pritchard of the Hockey Hall of Fame works the 2019 NHL Awards at the Mandalay Bay Events Center on June 19, 2019 in Las Vegas, Nevada. (Photo by Bruce Bennett/Getty Images)
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