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First-Time Novelist Ruth Ozeki Uses Rousing Fiction To Further Her Activist Agenda.
By Stephan Faris
My Year of Meats, by Ruth L. Ozeki (Viking Press). Cloth,
$29.95.
YOU'VE HEARD ALL the warnings: That red meat clogs your
arteries, that it leads to heart disease and prostate cancer.
That 55 square feet of rainforest are destroyed to produce one
quarter-pound of beef. That feed animals are raised in horrifically
overcrowded and unsanitary environments. That they do suffer when
slaughtered. That meat consumption is one factor in global warming.
That the animals you eat are pumped full of hormones, chemicals,
and antibiotics, the latter of which seem likely to set us back
to a pre-antibiotic age where bacterial infections run rampant
and incurable. Yadda, yadda, yadda.
You've heard all the alarming tales, but what can you do? Gotta
die somehow, right? Not according to Ruth L. Ozeki and her first
novel, My Year of Meats.
The story begins when Jane Takagi-Little, an aspiring documentary
filmmaker, accepts an offer to be the American coordinator for
the Japanese television series My American Wife! The show
is sponsored by the Beef Export and Trade Syndicate, BEEF-EX.
Each week the show features a new American family, and most importantly,
a delicious meat recipe. By tapping into the Japanese people's
love for all-good-things-American, the show aims to convert them
into meat eaters. "Pork is Possible, but Beef is Best!"
Jane enjoys her work. At first, she tries to please her corporate
bosses; but soon she's following her own agenda. In complete disregard
for BEEF-EX's preference for "normal" Americans, one
show stars West Texan Latinos while another features a dozen adopted
Korean children. Things heat up at the Tokyo office, but Jane,
feeling her oats, continues to mutiny, directing an episode featuring
an interracial, vegetarian, lesbian couple. The shows are popular
with her Japanese audience, receiving higher and higher ratings.
The ad rep for the campaign, Joichi "John" Ueno, is
dying to fire her, but her success makes her untouchable.
Meanwhile in Japan, John's wife Akiko dutifully watches the show.
Every week she fills out a survey for her husband and then cooks
the day's meat. John, perpetually dissatisfied with her efforts,
becomes increasingly abusive. Akiko sees the American families
on TV and wishes she could be part of them.
As the season continues, Jane wonders if she's doing enough.
She keeps hearing about the horrors of hormone and antibiotic
use in cattle breeding. As the evidence piles up, Jane deduces
that growth hormones caused her own affliction; she has a misshapen
uterus and can't bear children. Meanwhile, Akiko writes for advice.
Her husband's abuse has become unbearable, and inspired by Jane's
portrayal of real people, she wants out.
Jane realizes she's working against her own beliefs. In a flurry
of guerrilla cinema, she films what she knows will be her last
show: a daring exposé of the unethical and dangerous practices
of the meat industry.
The plot seems contrived--all the puzzle pieces fit too neatly--but
the book is nonetheless a fun read. Ozeki, who herself worked
in film, accommodates the television viewer's attention span.
She switches points of view often, flitting through a dozen different
characters, and sometimes telling the story using faxes, letters,
and scripts for the show. The book's tone is melodramatic yet
light. Ozeki has a keen sense of humor which keeps the story's
darker scenes from becoming oppressive.
Each chapter is introduced by a quote from The Pillow Book
of Sei Shônagon. Shônagon was a lady-in-waiting
to the 11th-century Empress Sadako. Her Pillow Book is
a collection of loosely organized notes and observations of the
court life. Some of the notes are in list form: Things That Arouse
a Fond Memory of the Past, Squalid Things, Annoying Things, Things
That Lose By Being Painted.
Since both Jane and Akiko are fans of Shônagon, her work
is prominent throughout the text: Akiko starts her own pillow
book, and at one point, Jane mentally adds herself to the list
of People Who Look Pleased with Themselves. Ozeki, too, enjoys
echoing Shônagon, inserting references liberally throughout
the book. For instance, when first contacting Jane about My
American Wives!, the Tokyo office sends lists of Desirable
Things and Undesirable Things.
Ozeki must have written this book to make Oprah's Book of the
Month Club. She pushes all the right buttons: race, gender, community,
self-empowerment. And of course, there's the beef issue.
Recognizing that we are overexposed and therefore numbed to the
arguments of artery clogging and animal rights, Ozeki sticks to
the horrors of hormones and antibiotics which her book associates
with impotence, birth defects, low sperm count, miscarriages,
and accelerated maturation (a 5-year-old with breasts and pubic
hair). Sometimes her evidence is anecdotal and rumored, but at
others, Ozeki doesn't shy away from showing us the evidence: The
scene with the 5-year-old is especially disturbing. It's enough
to make the most devoted carnivore pause with fork in the air.
What she's saying isn't really new. So why do we still eat meat?
Ozeki claims it's a survival mechanism: "If we can't act
on knowledge, then we can't survive without ignorance...Ignorance
becomes empowering because it enables people to live." Mired
in the belief there is nothing we can do, it's little surprise
that we do nothing to effect change.
Ozeki tries to mobilize her readers by giving the villain a face.
The men of the meat industry are so evil it's easy to blame them
for everything. (A cattle rancher molests his 5-year-old niece,
and John shows his most loathsome face when he anally rapes Akiko.)
Perhaps Ozeki hopes that by building an enemy, she'll impart
to the reader the will to act. Whether or not readers enjoy Ozeki's
horrific tale, they'll unlikely forget the author's anti-beef
arguments--or rather, her anti-beef imagery. Amarillo cattle ranchers,
watch out.
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