Not a review of Han Kang’s novel The Vegetarian

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  1. What follows is not a novel of Han Kang’s 2007 novel The Vegetarian, which I read this weekend (in Deborah Smith’s 2015 English language translation).
  2. Here—by which I mean this link—is a review of The Vegetarian by Biblioklept contributor Ryan Chang. He reviewed the novel two years ago on this blog, in depth, and with plenty of like, citations and examples from the novel itself.
  3. I meant to read The Vegetarian after reading Ryan’s review, but got sidetracked, (Sidetracked is not the right metaphor. I hoped to read it but didn’t. Until this weekend).
  4. Anyway, in the meantime while I was not reading it, The Vegetarian won the 2016 Man Booker International Prize, which means it got plenty of reviews and attention, which is good, because it’s a “good” book (whatever that means—what I mean is it’s a perplexing and fucked up and weird book), and also I’ve been out in the sun drinking beers all day and I know I couldn’t muster, like, a review.
  5. To really review the book, I’d have to reread it anyway, which I’ll probably do. The narrative’s arranged in three sections told via three very different perspectives—kinda sorta Rashomon style, I guess—and information in each section shades and intensifies information in other sections—so rereading the first two sections would be, um, valuable to seeing/feeling the novel anew.
  6. I use seeing/feeling above in lieu of understanding. The Vegetarian produced an aesthetic sensation in me (by which I maybe mean emotion that I don’t have the right word for. This previous statement sounds like boilerplate hyperbole, but it’s not—I literally cannot think of an accurate word to describe the feeling of the end of the novel. I’ve read takes on the novel that use terms like “unsettling” or “disturbing,” but these seem like adjectives without clear or proper referents.
  7. My adjective/noun combo for The Vegetarian: “dreamy queasiness.”
  8. Or maybe: “queasy dreaminess.”
  9. Does that hold appeal for you, kind reader? A dreamy queasy South Korean novel about a woman who stops eating meat after a weird dream and whose family reacts extremely poorly to her decision to stop eating meet? That description sounds way more banal than the novel really is. The books’ not banal at all; it’s a weird take on cruelty and abjection and refusal, refusal, refusal. It’s confounding. (I don’t have the right adjectives right now).
  10. I don’t have the right adjectives right now. Maybe I’ll just hit “publish” on this post and then repost Ryan’s review, which is far more detailed and perceptive and interesting than this non-review. In fact, I’m sure I’ll do that.

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An Excerpt From An Excerpt of Han Kang’s The Vegetarian

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 behavior 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 uncannyfeeling.

(via.)