A cross-cultural tale of two women brought together by the intersections of television and industrial agriculture, fertility and motherhood, life and love—the breakout hit by the celebrated author of A Tale for the Time Being and The Book of Form and Emptiness
Ruth Ozeki’s mesmerizing debut novel has captivated readers and reviewers worldwide. When documentarian Jane Takagi-Little finally lands a job producing a Japanese television show that just happens to be sponsored by an American meat-exporting business, she uncovers some unsavory truths about love, fertility, and a dangerous hormone called DES. Soon she will also cross paths with Akiko Ueno, a beleaguered Japanese housewife struggling to escape her overbearing husband. Hailed by USA Today as “rare and provocative” and awarded the Kirayama Prize for Literature of the Pacific Rim, My Year of Meats is a modern-day take on Upton Sinclair’s The Jungle for fans of Michael Pollan, Margaret Atwood, and Barbara Kingsolver.
Ruth Ozeki is a novelist, filmmaker, and Zen Buddhist priest. She is the award-winning author of three novels, My Year of Meats, All Over Creation, and A Tale for the Time Being, which was a finalist for the 2013 Booker Prize. Her nonfiction work includes a memoir, The Face: A Time Code, and the documentary film, Halving the Bones. She is affiliated with the Everyday Zen Foundation and teaches creative writing at Smith College, where she is the Grace Jarcho Ross 1933 Professor of Humanities.
What People are Saying About This
John Sayles
This is a very cool book, satirical but never mean, funny, peopled by fully inhabited characters who are both blind and self-aware. Ruth Ozeki's My Year of Meats reassures us that media and culture, though bound inextricably, will never become one.
Reading Group Guide
DISCUSSION QUESTIONS
Each chapter of My Year of Meats opens with an excerpt from
Sei Shonagon's The Pillow Book. Consider the interplay between
these quotes and the narrative's trajectory. How does this interjection from the
past enrich the novel? How does the Shonagon voice shape your relationship to
the characters? On the surface, Jane and Akiko appear to be opposites. Jane
is physically strong while Akiko is frail. Jane is fiercely independent while
Akiko is submissive to her husband. Are there any similarities between the two?
How do they complement each other?
In the beginning of chapter 3, Jane makes this comment: "One
requisite for a good documentarian: you must shamelessly take what is
available." What does this assertion tell you about Jane? At the end of
Jane's year of meats, do you think that she still believes it? If not, at what
point in the novel do you think she changed her mind? Do you think that
"shamelessly taking what is available" is a necessary part of being a
documentarian or a journalist?
Our exposure to the media has reached a fever pitch. Increasingly, we are
bombarded by instant information via television, print, radio, and the Internet.
Is this a positive development? What is your own "screen" for judging
information received in the media? Has your reading of My Year of
Meats suggested any new possibilities for your own relationship with
media sources?
How does this novel treat the question of cultural, ethnic, and gender
stereotypes? Did it challenge any of your own perceptions or biases? Consider,
too, how the media perpetuates and/or dismantles stereotypes.
Chapter 2 begins with this quote from The Pillow Book: "When I make
myself imagine what it is like to be one of those women who live at home,
faithfully serving their husbands, women who have not a single exciting prospect
in life yet who believe they are happy, I am filled with scorn." Akiko
and Jane, as well as the women featured on My American Wife!, reflect the
different roles women play both in Japan and within America. Of all of the women
featured in the novel, with whom did you most identify? Were there any that you
upheld as models for what women should aspire to be?
Think about some of the male characters in My Year of Meats.
There is Suzuki, who has a "passion for Jack Daniel's, Wal-Mart, and American
hard-core pornography"; Oh, who is Suzuki's drinking companion; and Joichi Ueno,
Akiko's violent husband with a fondness for Texas strippers. Do these
characters' affinity for pornography reflect the way that they relate to women?
Early in the novel, Jane says, "All over the world, native species
are migrating, if not disappearing, and in the next millennium the idea of an
indigenous person or plant or culture will just seem quaint." Do you
believe that this is true? If so, do you perceive it as a step toward a more
peaceful, accepting world, or as a step away from a diverse, well-textured
world? Is it possible to maintain cultural diversity without prejudice?
Consider Jane and Sloan's relationship. It seems that the same qualities that
make Jane successful in her career-strength and control-become obstacles in
developing an intimate relationship with Sloan. Have you encountered this
problem in your own relationships? At any point did you find yourself impatient
with Jane or Sloan? Were you surprised to see them together in the end? Do you
think that the novel is optimistic about intimacy? Are you?
Truth lies in layers, each one thin and barely opaque, like skin,
resisting the tug to be told. As a documentarian I think about this a lot. In
the edit, timing is everything. There is a time to peel back." Consider
the way the novel plays with the notions of "truth" and "authenticity." What do
these words mean to Jane? To Akiko? To John Ueno? To the Wives? To the author?
What forms of denial of truth do the various characters practice, and how do
they "peel back"? What does the novel imply about denial in our world today?