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Audible sample Sample
The Vegetarian: A Novel Hardcover – Deckle Edge, February 2, 2016
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One of the New York Times’s 100 Best Books of the 21st Century
“Ferocious.”—The New York Times Book Review (Ten Best Books of the Year)
“Both terrifying and terrific.”—Lauren Groff
“Provocative [and] shocking.”—The Washington Post
Before the nightmares began, Yeong-hye and her husband lived an ordinary, controlled life. But the dreams—invasive images of blood and brutality—torture her, driving Yeong-hye to purge her mind and renounce eating meat altogether. It’s a small act of independence, but it interrupts her marriage and sets into motion an increasingly grotesque chain of events at home. As her husband, her brother-in-law and sister each fight to reassert their control, Yeong-hye obsessively defends the choice that’s become sacred to her. Soon their attempts turn desperate, subjecting first her mind, and then her body, to ever more intrusive and perverse violations, sending Yeong-hye spiraling into a dangerous, bizarre estrangement, not only from those closest to her, but also from herself.
Celebrated by critics around the world, The Vegetarian is a darkly allegorical, Kafka-esque tale of power, obsession, and one woman’s struggle to break free from the violence both without and within her.
A Best Book of the Year: BuzzFeed, Entertainment Weekly, Wall Street Journal, Time, Elle, The Economist, HuffPost, Slate, Bustle, The St. Louis Dispatch, Electric Literature, Publishers Weekly
- Print length192 pages
- LanguageEnglish
- PublisherHogarth
- Publication dateFebruary 2, 2016
- Dimensions5.94 x 0.77 x 8.52 inches
- ISBN-100553448188
- ISBN-13978-0553448184
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Editorial Reviews
Review
“[Han Kang] has been rightfully celebrated as a visionary in South Korea . . . Han’s glorious treatments of agency, personal choice, submission and subversion find form in the parable. . . . Ultimately, though, how could we not go back to Kafka? More than The Metamorphosis, Kafka’s journals and ‘A Hunger Artist’ haunt this text.”—Porochista Khakpour, New York Times Book Review
“Indebted to Kafka, this story of a South Korean woman’s radical transformation, which begins after she forsakes meat, will have you reading with your hand over your mouth in shock.”—O: The Oprah Magazine
“The Vegetarian has an eerie universality that gets under your skin and stays put irrespective of nation or gender.”—Laura Miller, Slate
“Slim and spiky and extremely disturbing . . . I find myself thinking about it weeks after I finished.” Jennifer Weiner, PopSugar
“It takes a gifted storyteller to get you feeling ill at ease in your own body. Yet Han Kang often set me squirming with her first novel in English, at once claustrophobic and transcendent.”—Chicago Tribune
"Compelling . . . [A] seamless union of the visceral and the surreal.”—Los Angeles Review of Books
“A complex, terrifying look at how seemingly simple decisions can affect multiple lives . . . In a world where women’s bodies are constantly under scrutiny, the protagonist’s desire to disappear inside of herself feels scarily familiar.”—Vanity Fair
“Elegant . . . a stripped-down, thoughtful narrative . . . about human psychology and physiology.”—HuffPost
“This elegant-yet-twisted horror story is all about power and its relationship with identity. It's chilling in the best ways, so buckle in and turn down the lights.”—Elle
“This haunting, original tale explores the eros, isolation and outer limits of a gripping metamorphosis that happens in plain sight. . . . Han Kang has written a remarkable novel with universal themes about isolation, obsession, duty and desire.”—Minneapolis Star Tribune
“Complex and strange . . . Han’s prose moves swiftly, riveted on the scene unfolding in a way that makes this story compulsively readable. . . . [The Vegetarian] demands you to ask important questions, and its vivid images will be hard to shake. This is a book that will stay with you.”—St. Louis Post-Dispatch
“Dark dreams, simmering tensions, chilling violence . . . This South Korean novel is a feast. . . . It is sensual, provocative and violent, ripe with potent images, startling colors and disturbing questions. . . . Sentence by sentence, The Vegetarian is an extraordinary experience.”—The Guardian
About the Author
Excerpt. © Reprinted by permission. All rights reserved.
Copyright © 2015 Han Kang
1
The Vegetarian
Before my wife turned vegetarian, I’d always thought of her as completely unremarkable in every way. To be frank, the first time I met her I wasn’t even attracted to her. Middling height; bobbed hair neither long nor short; jaundiced, sickly-looking skin; somewhat prominent cheekbones; her timid, sallow aspect told me all I needed to know. As she came up to the table where I was waiting, I couldn’t help but notice her shoes – the plainest black shoes imaginable. And that walk of hers – neither fast nor slow, striding nor mincing.
However, if there wasn’t any special attraction, nor did any particular drawbacks present themselves, and therefore there was no reason for the two of us not to get married. The passive personality of this woman in whom I could detect neither freshness nor charm, or anything especially refined, suited me down to the ground. There was no need to affect intellectual leanings in order to win her over, or to worry that she might be comparing me to the preening men who pose in fashion catalogues, and she didn’t get worked up if I happened to be late for one of our meetings. The paunch that started appearing in my mid-twenties, my skinny legs and forearms that steadfastly refused to bulk up in spite of my best efforts, the inferiority complex I used to have about the size of my penis – I could rest assured that I wouldn’t have to fret about such things on her account.
I’ve always inclined towards the middle course in life. At school I chose to boss around those who were two or three years my junior, and with whom I could act the ringleader, rather than take my chances with those my own age, and later I chose which college to apply to based on my chances of obtaining a scholarship large enough for my needs. Ultimately, I settled for a job where I would be provided with a decent monthly salary in return for diligently carrying out my allotted tasks, at a company whose small size meant they would value my unremarkable skills. And so it was only natural that I would marry the most run-of-the-mill woman in the world. As for women who were pretty, intelligent, strikingly sensual, the daughters of rich families – they would only ever have served to disrupt my carefully ordered existence.
In keeping with my expectations, she made for a completely ordinary wife who went about things without any distasteful frivolousness. Every morning she got up at six a.m. to prepare rice and soup, and usually a bit of fish. From adolescence she’d contributed to her family’s income through the odd bit of part-time work. She ended up with a job as an assistant instructor at the computer graphics college she’d attended for a year, and was subcontracted by a manhwa publisher to work on the words for their speech bubbles, which she could do from home.
She was a woman of few words. It was rare for her to demand anything of me, and however late I was in getting home she never took it upon herself to kick up a fuss. Even when our days off happened to coincide, it wouldn’t occur to her to suggest we go out somewhere together. While I idled the afternoon away, TV remote in hand, she would shut herself up in her room. More than likely she would spend the time reading, which was practically her only hobby. For some unfathomable reason, reading was something she was able to really immerse herself in – reading books that looked so dull I couldn’t even bring myself to so much as take a look inside the covers. Only at mealtimes would she open the door and silently emerge to prepare the food. To be sure, that kind of wife, and that kind of lifestyle, did mean that I was unlikely to find my days particularly stimulating. On the other hand, if I’d had one of those wives whose phones ring on and off all day long with calls from friends or co-workers, or whose nagging periodically leads to screaming rows with their husbands, I would have been grateful when she finally wore herself out.
The only respect in which my wife was at all unusual was that she didn’t like wearing a bra. When I was a young man barely out of adolescence, and my wife and I were dating, I happened to put my hand on her back only to find that I couldn’t feel a bra strap under her sweater, and when I realized what this meant I became quite aroused. In order to judge whether she might possibly have been trying to tell me something, I spent a minute or two looking at her through new eyes, studying her attitude. The outcome of my studies was that she wasn’t, in fact, trying to send any kind of signal. So if not, was it laziness, or just a sheer lack of concern? I couldn’t get my head round it. It wasn’t even as though she had shapely breasts which might suit the ‘no-bra look’. I would have preferred her to go around wearing one that was thickly padded, so that I could save face in front of my acquaintances.
Even in the summer, when I managed to persuade her to wear one for a while, she’d have it unhooked barely a minute after leaving the house. The undone hook would be clearly visible under her thin, light-coloured tops, but she wasn’t remotely concerned. I tried reproaching her, lecturing her to layer up with a vest instead of a bra in that sultry heat. She tried to justify herself by saying that she couldn’t stand wearing a bra because of the way it squeezed her breasts, and that I’d never worn one myself so I couldn’t understand how constricting it felt. Nevertheless, considering I knew for a fact that there were plenty of other women who, unlike her, didn’t have anything particularly against bras, I began to have doubts about this hypersensitivity of hers.
In all other respects, the course of our our married life ran smoothly. We were approaching the five-year mark, and since we were never madly in love to begin with we were able to avoid falling into that stage of weariness and boredom that can otherwise turn married life into a trial. The only thing was, because we’d decided to put off trying for children until we’d managed to secure a place of our own, which had only happened last autumn, I sometimes wondered whether I would ever get to hear the reassuring sound of a child gurgling ‘dada’, and meaning me. Until a certain day last February, when I came across my wife standing in the kitchen at day-break in just her nightclothes, I had never considered the possibility that our life together might undergo such an appalling change.
‘What are you doing standing there?’
I’d been about to switch on the bathroom light when I was brought up short. It was around four in the morning, and I’d woken up with a raging thirst from the bottle and a half of soju I’d had with dinner, which also meant I was taking longer to come to my senses than usual.
‘Hello? I asked what you’re doing?’
It was cold enough as it was, but the sight of my wife was even more chilling. Any lingering alcohol-induced drowsiness swiftly passed. She was standing, motionless, in front of the fridge. Her face was submerged in the darkness so I couldn’t make out her expression, but the potential options all filled me with fear. Her thick, naturally black hair was fluffed up, dishevelled, and she was wearing her usual white ankle-length nightdress.
On such a night, my wife would ordinarily have hurriedly slipped on a cardigan and searched for her towelling slippers. How long might she have been standing there like that – barefoot, in thin summer nightwear, ramrod straight as though perfectly oblivious to my repeated interrogation? Her face was turned away from me, and she was standing there so unnaturally still it was almost as if she were some kind of ghost, silently standing its ground.
What was going on? If she couldn’t hear me then perhaps that meant she was sleepwalking.
I went towards her, craning my neck to try and get a look at her face.
‘Why are you standing there like that? What’s going on . . .’
When I put my hand on her shoulder I was surprised by her complete lack of reaction. I had no doubt that I was in my right mind and all this was really happening; I had been fully conscious of everything I had done since emerging from the living room, asking her what she was doing, and moving towards her. She was the one standing there completely unresponsive, as though lost in her own world. It was like those rare occasions when, absorbed in a late-night TV drama, she’d failed to notice me arriving home. But what could there be to absorb her attention in the pale gleam of the fridge’s white door, in the pitch-black kitchen at four in the morning?
‘Hey!’
Her profile swam towards me out of the darkness. I took in her eyes, bright but not feverish, as her lips slowly parted.
‘. . . I had a dream.’
Her voice was surprisingly clear.
‘A dream? What the hell are you talking about? Do you know what time it is?’
She turned so that her body was facing me, then slowly walked off through the open door into the living room. As she entered the room she stretched out her foot and calmly pushed the door to. I was left alone in the dark kitchen, looking helplessly on as her retreating figure was swallowed up through the door.
I turned on the bathroom light and went in. The cold snap had continued for several days now, consistently hovering around -10°C. I’d showered only a few hours ago, so my plastic shower slippers were still cold and damp. The loneliness of this cruel season began to make itself felt, seeping from the black opening of the ventilation fan above the bath, leaching out of the white tiles covering the floor and walls.
When I went back into the living room my wife was lying down, her legs curled up to her chest, the silence so weighted I might as well have been alone in the room. Of course, this was just my fancy. If I stood perfectly still, held my breath and strained to listen, I was able to hear the faintest sound of breathing coming from where she lay. Yet it didn’t sound like the deep, regular breathing of someone who has fallen asleep. I could have reached out to her, and my hand would have encountered her warm skin. But for some reason I found myself unable to touch her. I didn’t even want to reach out to her with words.
For the few moments immediately after I opened my eyes the next morning, when reality had yet to assume its usual concreteness, I lay with the quilt wrapped about me, absent-mindedly assessing the quality of the winter sunshine as it filtered into the room through the white curtain. In the middle of this fit of abstraction I happened to glance at the wall clock and jumped up the instant I saw the time, kicked the door open and hurried out of the room. My wife was in front of the fridge.
‘Are you crazy? Why didn’t you wake me up? What time is . . .’
Something squashed under my foot, stopping me in mid-sentence. I couldn’t believe my eyes.
She was crouching, still wearing her nightclothes, her dishevelled, tangled hair a shapeless mass around her face. Around her, the kitchen floor was covered with plastic bags and airtight containers, scattered all over so that there was nowhere I could put my feet without treading on them. Beef for shabu-shabu, belly pork, two sides of black beef shin, some squid in a vacuum-packed bag, sliced eel that my mother-in-law had sent us from the countryside ages ago, dried croaker tied with yellow string, unopened packs of frozen dumplings and endless bundles of unidentified stuff dragged from the depths of the fridge. There was a rustling sound; my wife was busy putting the things around her one by one into black rubbish bags. Eventually I lost control.
‘What the hell are you up to now?’ I shouted.
She kept on putting the parcels of meat into the rubbish bags, seemingly no more aware of my existence than she had been last night. Beef and pork, pieces of chicken, at least 200,000-won worth of saltwater eel.
‘Have you lost your mind? Why on earth are you throwing all this stuff out?’
I hurriedly stumbled my way through the plastic bags and grabbed her wrist, trying to prise the bags from her grip. Stunned to find her fiercely tugging back against me, I almost faltered for a moment, but my outrage soon gave me the strength to overpower her. Massaging her reddened wrist, she spoke in the same ordinary, calm tone of voice she’d used before.
‘I had a dream.’
Those words again. Her expression as she looked at me was perfectly composed. Just then my mobile rang.
‘Damn it!’
I started to fumble through the pockets of my coat, which I’d tossed onto the living room sofa the previous evening. Finally, in the last inside pocket, my fingers closed around my recalcitrant phone.
‘I’m sorry. Something’s come up, an urgent family matter, so . . . I’m very sorry. I’ll be there as quickly as possible. No, I’m going to leave right now. It’s just . . . no, I couldn’t possibly have you do that. Please wait just a little longer. I’m very sorry. Yes, I really can’t talk right now . . .’
I flipped my phone shut and dashed into the bathroom, where I shaved so hurriedly that I cut myself in two places.
‘Haven’t you even ironed my white shirt?’
There was no answer. I splashed water on myself and rummaged in the laundry basket, searching for yesterday’s shirt. Luckily it wasn’t too creased. Not once did my wife bother to peer out from the kitchen in the time it took me to get ready, slinging my tie round my neck like a scarf, pulling on my socks, and getting my notebook and wallet together. In the five years we’d been married this was the first time I’d had to go to work without her handing me my things and seeing me off.
‘You’re insane! You’ve completely lost it.’
I crammed my feet into my recently purchased shoes, which were too narrow and pinched uncomfortably, threw open the front door and ran out. I checked whether the lift was going to go all the way up to the top floor, and then dashed down three flights of stairs. Only once I’d managed to jump on the underground train as it was just about to leave did I have time to take in my appearance, reflected in the dark carriage window. I ran my fingers through my hair, did up my tie, and attempted to smooth out the creases in my shirt. My wife’s unnaturally serene face, her incongruously firm voice, surfaced in my mind.
I had a dream – she’d said that twice now. Beyond the window, in the dark tunnel, her face flitted by – her face, but unfamiliar, as though I was seeing it for the first time. However, as I had thirty minutes in which to concoct an excuse for my client that would justify my lateness, as well as putting together a draft proposal for today’s meeting, there was no time for mulling over the strange behaviour of my even-stranger wife. Having said that, I told myself that somehow or other I had to leave the office early today (never mind that in the several months since I’d switched to my new position there hadn’t been a single day where I’d got off before midnight), and steeled myself for a confrontation.
Dark woods. No people. The sharp-pointed leaves on the trees, my torn feet. This place, almost remembered, but I’m lost now. Frightened. Cold. Across the frozen ravine, a red barn-like building. Straw matting flapping limp across the door. Roll it up and I’m inside, it’s inside. A long bamboo stick strung with great blood-red gashes of meat, blood still dripping down. Try to push past but the meat, there’s no end to the meat, and no exit. Blood in my mouth, blood-soaked clothes sucked onto my skin.
Somehow a way out. Running, running through the valley, then suddenly the woods open out. Trees thick with leaves, springtime’s green light. Families picnicking, little children running about, and that smell, that delicious smell. Almost painfully vivid. The babbling stream, people spreading out rush mats to sit on, snacking on kimbap. Barbecuing meat, the sounds of singing and happy laughter.
But the fear. My clothes still wet with blood. Hide, hide behind the trees. Crouch down, don’t let anybody see. My bloody hands. My bloody mouth. In that barn, what had I done? Pushed that red raw mass into my mouth, felt it squish against my gums, the roof of my mouth, slick with crimson blood.
Chewing on something that felt so real, but couldn’t have been, it couldn’t. My face, the look in my eyes . . . my face, undoubtedly, but never seen before. Or no, not mine, but so familiar. . . nothing makes sense. Familiar and yet not . . . that vivid, strange, horribly uncanny feeling.
On the dining table my wife had laid out lettuce and soybean paste, plain seaweed soup without the usual beef or clams, and kimchi.
‘What the hell? So all because of some ridiculous dream, you’ve gone and chucked out all the meat? Worth how much?’
I got up from my chair and opened the freezer. It was practically empty – nothing but miso powder, chilli powder, frozen fresh chillies, and a pack of minced garlic.
‘Just make me some fried eggs. I’m really tired today. I didn’t even get to have a proper lunch.’
‘I threw the eggs out as well.’
‘What?’
‘And I’ve given up milk too.’
‘This is unbelievable. You’re telling me not to eat meat?’
‘I couldn’t let those things stay in the fridge. It wouldn’t be right.’
How on earth could she be so self-centred? I stared at her lowered eyes, her expression of cool self-possession. The very idea that there should be this other side to her, one where she selfishly did as she pleased, was astonishing. Who would have thought she could be so unreasonable?
‘So you’re saying that from now on, there’ll be no meat in this house?’
‘Well, after all, you usually only eat breakfast at home. And I suppose you often have meat with your lunch and dinner, so . . . it’s not as if you’ll die if you go without meat just for one meal.’
Her reply was so methodical, it was as if she thought that this ridiculous decision of hers was something completely rational and appropriate.
‘Oh good, so that’s me sorted then. And what about you? You’re claiming that you’re not going to eat meat at all from now on?’ She nodded. ‘Oh, really? Until when?
‘I suppose . . . forever.’
I was lost for words, though at the same time I was aware that choosing a vegetarian diet wasn’t quite so rare as it had been in the past. People turn vegetarian for all sorts of reasons: to try and alter their genetic predisposition towards certain allergies, for example, or else because it’s seen as more environmentally friendly not to eat meat. Of course, Buddhist priests who have taken certain vows are morally obliged not to participate in the destruction of life, but surely not even impressionable young girls take it quite that far. As far as I was concerned, the only reasonable grounds for altering one’s eating habits were the desire to lose weight, an attempt to alleviate certain physical ailments, being possessed by an evil spirit, or having your sleep disturbed by indigestion. In any other case, it was nothing but sheer obstinacy for a wife to go against her husband’s wishes as mine had done.
If you’d said that my wife had always been faintly nauseated by meat, then I could have understood it, but in reality it was quite the opposite – ever since we’d got married she had proved herself a more than competent cook, and I’d always been impressed by her way with food. Tongs in one hand and a large pair of scissors in the other, she’d flipped rib meat in a sizzling pan whilst snipping it into bite-sized pieces, her movements deft and practised. Her fragrant, caramelised deep-fried belly pork was achieved by marinating the meat in minced ginger and glutinous starch syrup. Her signature dish had been wafer-thin slices of beef seasoned with black pepper and sesame oil, then coated with sticky rice powder as generously as you would with rice cakes or pancakes, and dipped in bubbling shabu-shabu broth. She’d made bibimbap with bean sprouts, minced beef, and pre-soaked rice stir-fried in sesame oil. There had also been a thick chicken and duck soup with large chunks of potato, and a spicy broth packed full of tender clams and mussels, of which I could happily polish off three helpings in a single sitting.
What I was presented with now was a sorry excuse for a meal. Her chair pulled back at an angle, my wife spooned up some seaweed soup, which was quite clearly going to taste of water and nothing else. She balanced rice and soybean paste on a lettuce leaf, then bundled the wrap into her mouth and chewed it slowly.
I just couldn’t understand her. Only then did I realize: I really didn’t have a clue when it came to this woman.
‘Not eating?’ she asked absent-mindedly, for all the world like some middle-aged woman addressing her grown-up son. I sat in silence, steadfastly uninterested in this poor excuse for a meal, crunching on kimchi for what felt like an age.
Product details
- Publisher : Hogarth; First Edition (February 2, 2016)
- Language : English
- Hardcover : 192 pages
- ISBN-10 : 0553448188
- ISBN-13 : 978-0553448184
- Item Weight : 11 ounces
- Dimensions : 5.94 x 0.77 x 8.52 inches
- Best Sellers Rank: #184,992 in Books (See Top 100 in Books)
- #797 in Cultural Heritage Fiction
- #2,049 in Psychological Fiction (Books)
- #11,121 in Literary Fiction (Books)
- Customer Reviews:
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Customers find the book thought-provoking and compelling. They describe the aesthetic quality as beautiful, poetic, and unique. Readers describe the book as interesting and intense. They appreciate the creativity and writing quality. However, some find the narrative mediocre and disappointing. Opinions are mixed on the disturbing content.
AI-generated from the text of customer reviews
Customers find the book interesting, impressive, and engaging. They describe it as a short but intense book that explores themes of control and societal violence. Readers also mention the book is unique, surprisingly meaty for its 192 pages, and gripping from the first paragraph.
"...The story certainly seems unique, but it is not my taste...." Read more
"The writing is beautiful and the story takes you into 3 scenarios, dreamlike,frightening, transcendent. Unlike anything else I’ve ever read." Read more
"...I found it to be a very compelling and interesting read. I agree with other readers that it is difficult to pin down the author's point...." Read more
"...of novels these days with wide acclaim, this book is interesting and engaging while also so allegorical and obscure that empathy for the protagonist..." Read more
Customers find the writing quality of the book beautiful, graceful, and powerful. They also say the story is poetically written, with a vibrant command of language. Readers also mention the book is a quick and easy read, but somewhat disquieting.
"This book is well written, as far as I can tell with the translation. The story certainly seems unique, but it is not my taste...." Read more
"The writing is beautiful and the story takes you into 3 scenarios, dreamlike,frightening, transcendent. Unlike anything else I’ve ever read." Read more
"...I really enjoyed this book and thought the writing was pitch-perfect for the story. The author has a very vivid imagination...." Read more
"...: I read this book in English and it was a thoroughly lithe and graceful translation. The translator was Deborah Smith and she, too, is an artist." Read more
Customers find the book creative, original, and thoughtful. They also say it makes the ordinary seem extraordinary.
"...The author has a very vivid imagination. I gave this four stars because I do have questions about what this novel was really about...." Read more
"...-- which a haunting, gripping, very uncomfortable; i.e. very well done and very strong...." Read more
"This is a work of lucid genius...." Read more
"A psychologically tense, visual, creative, poetic, and interesting - however rather black - story about the dark matters of life...." Read more
Customers find the book evocative, compelling, and full of depth. They say it gives tremendous insight into members of a Korean family. Readers also mention the book has layer upon layer of meaning and touches many different subjects.
"...The book has layer upon layer of meaning, and touches many different subjects that are organically intertwined, and that the reader will discover as..." Read more
"...and the story takes you into 3 scenarios, dreamlike,frightening, transcendent. Unlike anything else I’ve ever read." Read more
"...wide acclaim, this book is interesting and engaging while also so allegorical and obscure that empathy for the protagonist's plight becomes..." Read more
"...The studies of mania, obsession and mental illness were so interesting to read about...." Read more
Customers find the book beautiful, poetic, and imaginative. They also appreciate the originality and erotic imagery.
"...is not an easy book to read, sad, tragic and depressing but also artistic, erotic, lyric an poetic...." Read more
"...by Han Kang’s precise, powerful prose, which is equally adept at showcasing both great beauty and stunning brutality...." Read more
"...But on the other hand this story was very insightful and, dare I say, beautiful.I'm so confused right now." Read more
"This book has a lovely, delicate of the socially weak and alienated." Read more
Customers have mixed opinions about the disturbing content of the book. Some mention it's disturbing, weird, and haunting. Others say it'll leave them unsettled and is too depressing.
"...The Vegetarian is not an easy book to read, sad, tragic and depressing but also artistic, erotic, lyric an poetic...." Read more
"...Those thoughts are sexual, sensual, morbid, sad, selfish and violent. There seem to be no happy thoughts...." Read more
"...is beautiful and the story takes you into 3 scenarios, dreamlike,frightening, transcendent. Unlike anything else I’ve ever read." Read more
"...skimming very quickly through the rest of it and found it too bizarre to keep my interest...." Read more
Customers have mixed opinions about the character development. Some mention the characters are fascinating, clear, and elegantly sketched. Others say the characters float through life without any decision to make.
"...Another "sore spot" for me was that the inscrutability of the main character, though likely maintained so we could see her through the eyes..." Read more
"...is interesting and the style of writing and the character herself is very strange and intriguing...." Read more
"...But as a novel I felt most of the characters didn't hold my interest or let me get to know them better as the book went on...." Read more
"...The writing was beautiful and the characters were interesting. I was a bit confused by the ending of the book, but I think that's just me...." Read more
Customers find the narrative quality of the book mediocre and disappointing. They say it loses its way after the powerful and upsetting events. Readers also mention the story is disturbing and unsatisfying.
"...As I finished the last page I was dissatisfied with the ending. I felt cheated out of a resolution that I felt the book had been promising...." Read more
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The three parts are:
1/The Vegetarian = We are told the story of Yeon-hye'd through the eyes of her husband Mr Cheong,
2/Mongolian Marks = We are told the story of Yeon-hye's artist brother-in-law.
3/Flaming Trees = We are told the story of Yeon-hye through the eyes of her sister In-hye.
The Vegetarian is Yeon-hye's vanishing act in three chapters as each shows a progressive deterioration of Yeon-hye's body and state of mind. The Vegetarian is also an three-way immolation: self-destruction, self-obliteration, and self-denial (Yeon, In, and the artist respectively).
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The Vegetarian is not an easy book to read, sad, tragic and depressing but also artistic, erotic, lyric an poetic. The book has layer upon layer of meaning, and touches many different subjects that are organically intertwined, and that the reader will discover as they read along.
# Some of these subjects and themes are immediately obvious: ~ The social and family structure in South Korea. ~ The objectification of women. ~ The nature of desire. ~ The nature of artistic creation. ~ The effect of trauma and the suppression of emotions on the psyche. ~ The many facets of violence in our daily dealings. From feeding somebody against their will, to emotionally using somebody disregarding their emotional needs, having intercourse with a person who is not in his right mind, or enduring life without living it fully. ~ Social and personal boundaries.
# However, I see four major themes in the novel:
~ One is the seek for the real self, because that true self is what we really are, the voice in our inner speech. The closer you are to your true self and your true inner voice the healthier your state of mind. This novel shows this masterfully. .
~ The second is that reality is perception, which is tarnished by our psychological projections.What is more, reality is part o our dreams and dreams are always real no matter how fantastic and mysterious they look like. All the characters say, at certain point in the novel, that the other person is a stranger to them, or that they don't really know them, even though they are family. We can only know other people to a certain extent, even when we think we know them well. We are projecting all the time.
~ The third is mental illness. Which are the repercussions on the social network of the sick person? Where and what is the line that separates sanity from insanity? Who is most insane, the insane person whose mind exteriorises the trauma, or the sane person who cannot deal with the trauma within their own sanity?
~ The fourth is Human Nature vs. Nature. In the book, the former is equalled to violence, suffering, lack of peace, and being stuck, while the latter is equalled to peace, fluidity, happiness, movement, truthfulness, to life as in zen. In fact, the three characters develop a special relationship with Nature, Yeon-hye wants to be a tree, the artist wants to self-obliterate himself into nature through flowers, while In-hye sees trees and forest as holders of the mysteries and answers she is still to get. This links well with Korean culture and Korean connection with the forest, trees and mountains and with some ancestral animist believes that still permeate Korean culture.
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There is a heavy presence of strong oneiric elements and moments in the novel that affect all the main characters in the book, Yeon-hye, In-hye, her husband and her son. The oneiric element works perfectly in the novel because dreams are the messengers of the psyche, they are the bed where the soul rests, the mirror of the true self, that part of the human being that is honest and says to you how you feel. Dreams are also a space where reality and non-reality mix in organic but mysterious ways. The dream is the seed of our hidden truths, of our moments of elation and those of despair and anguish. The dream is always emotional. And this is the case in the novel. We see our characters' frigid emotionality in their awaken life, but very emotional in their oneiric life. We see their dreams speaking their inner truth. However, the dream is not only an literary element here. There is a strong dream culture in South Korea, still alive nowadays.
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Regarding influences, we Westerners have a western-centric view of the world that we project all the time, especially with successful Asian artists. We tend to see the influence of any major Western artist on any successful Asian artist who becomes popular in the West, and also a tendency to put in the same bag all those Asian artists who become popular in the West. In a way is understandable. Those are the cultural anchors we have because, when it comes to South Korea, we don't have enough knowledge of the language and culture of the country to do differently. Besides, we are reading a translation and, no matter how good the translator is, this is never the same as reading a work in its original language. What can we say about the use of language, play of words, choice of words, sentence structure and on any other linguistic characteristic that is intrinsically linked to the literary value of any literary work? Some critics with too much space to talk nonsense have made connections between Han Kang's writing and Murakami, and found all sort of Western literary influences on this book. Well, I don't see the connection with Murakami at all, mind you. The connection with The Metamorphosis could be made, albeit quite vaguely.
I also have my own projections, of course. Here my mental association. The second chapter and the erotic flower theme resonated with me and brought to mind a video who I saw many-many years ago, the scene of the copulating flowers in Pink Floyd's The Wall (you can still find the clip on YouTube) because, somewhat, I found there was a similar energy, the madness, and darkness even.
Han Kang has personally said in some interviews, that her work is indebted to Korean literature, that some of darkness and themes in her works are directly linked and indebted to her experience of the massacre in Gwanjiu in 1980, and that she writes from an Universal standpoint even though she is Korean. She is the daughter of a writer, grew up surrounded by books and artists, she says, but she doesn't really mention any major Western author as her major literary impromptu even when asked about this. So that should suffice to stop speculating about Western influences.
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There are images powerfully lyric and visually artistic and cinematic in this book. One of my favourites is in the fist part, when Yeong-hye in the courtyard in the hospital with a bird in his hand.Almost like a modern painting. Or the image of In-hye reflected in the mirror with a bleeding eye. Others, on the contrary are very dramatic, shocking and horrific, like the dream with the dog. Those images will stay with you for a long time, printed in your retina long after you close the book.
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The translation by Deborah Smith is good. Most of the book flows and that is the sort of experience we want as translators and readers to have when translating literary works. Having said that, I thought that the first part needed of a few more commas, cutting on some unnecessary wordiness and another choice of words (this being a very personal thing, of course).
TWO NOTES
|| The Vegetarian was originally published in 2007, compiling three novelettes previously published separately. However, the story, according to Hang herself, developed organically, but turned dark, from a short story of hers "Fruits of my Woman" written in the year 2000.
|| The book was taken to the screen in 2009 under the direction of Woo-Seong Lim. The movie was also called The Vegetarian.
TYPOS
> I couldn’t get my head round it. (Locations 48-49).
> natural it was to not wear clothes. (Location 1220).
A WARNING
This word contains explicit violence, human and animal, and explicit sex scenes.
A QUERY
Why was the book called Vegetarian in English is the character becomes a vegan? Was the title in Korean the same?
I am a vegetarian and so of course the title caught my attention. I have honestly never really examined the fact of my vegetarianism very much, it just is and I am fortunate to live in a family and a country that thinks nothing much of my choice. The notion that someone becoming a vegetarian could be so radical was fascinating to me. The further notion that this decision, prompted by a dream, could be the catalyst for a deepening mental illness was mind-blowing. I think that is why for the first two-thirds of the book I never really thought that Yeong-hye was insane. How is it possible that your failure to conform with majority view makes you crazy? Heck, I think that lack of conformity is what the United States was, in part, built on. Maybe that is what this book is about? Maybe it is a commentary on South Korean society and the expectations for conformity therein – but I am honestly not sure.
While I did think some about conformity and submission and acquiescence to our fate and Yeong-hye’s rejection of all that. I was mostly struck by how base we all are. We are so animalistic and needy and selfish and some of us reign that in better than others. Han Kang gives us a front row seat to all of those thoughts as they run through the minds of the three main point-of-view characters in the book – Yeong-hye’s husband Mr. Cheong, her brother-in-law and her sister, In-hye. Those thoughts are sexual, sensual, morbid, sad, selfish and violent. There seem to be no happy thoughts. I think we all have dark thoughts at times, but this is exceptional and it made me wonder if this is the product of a post-Christian world, or the decline in birth rates in Korea that exemplifies a lack of hopefulness in a nation. Perhaps it is as simple as the people in this novel are messed up – they are sad and ill and lost.
I devoured the first two-thirds of this book. I was desperate to see what happened to Yeong-hye. I was disappointed in the last third of the book – it was slow and gave me a conclusion that I did not really want. As I finished the last page I was dissatisfied with the ending. I felt cheated out of a resolution that I felt the book had been promising. But then I realized, just as the book had been telling me all along, life is messy. There are no neat and tidy endings. Everything is more complicated than it seems. It also often more simple – sometimes we just need someone to really hear us, to see us, to accept our strange non-conformity with a simple acknowledgment that we are all strange, weird and dark in own ways and that we all long to give into it even when everyone tells us to fight against it.
Top reviews from other countries
Overall, a solid read but not one I’ll sing about from the rooftops.