Ruth Ozeki (1998) (UK ed 2013) My Year of Meats. Edinburgh, Canongate. 978-1-78211-114-6

This is, as described, an extraordinary book which tackles a number of interesting issues. It weaves together the stories of Jane Takagi-Little, a documentary filmmaker, with Akiko Uneo, a Japanese housewife who watches the cookery shows that Jane has filmed.

 
[Trigger Warning: Domestic Violence]
[Spoiler Alert]
 

This is an interesting mixing of a number of social issues brought about when two contrasting cultures combine. Jane, herself dual heritage having had a Japanese mother and an American father, is asked to make a Japanese documentary series sponsored by an American meat-exporting business. The programmes feature stories about supposedly clean-living, all-American families with the wives showing how they cook a particular meat-based recipe. The book also reveals how the families featured are exploited by the TV company and the meat exporting business for their own ends. Jane also uncovers some uncomfortable truths about a dangerous hormone used in the meat industry called DES and issues around fertility and love are explored through both stories.

In Japan the shows are avidly watched by the wife of the Japanese TV executive, who attempts to re-create the food she sees in the programmes. Her husband is increasingly abusive towards her, as she tries to second guess his moods and desires, and finally he becomes physically violent and lands her in hospital. She contacts Jane and buys a one-way ticket to the US to start an imagined life she has dreamt about from the documentary series.

It is interesting in the blurb that Akiko’s abusive husband is merely described as overbearing [“…she will also cross paths with Akiko Ueno, a beleaguered Japanese housewife struggling to escape her overbearing husband.”] when he is actually mentally, emotionally, financially and sexually abusive long before he becomes physically violent.

Again, domestic abuse is portrayed as control that builds up into violence, and it is only when the violence is unleashed that Akiko feels able to leave.

Awards:
·        Kirayama Prize for Literature of the Pacific Rim