The Vegetarian

''The Vegetarian'' () is a South Korean three-part novel written by Han Kang and first published in 2007. Based on Han's 1997 short story "The Fruit of My Woman", ''The Vegetarian'' is set in modern-day Seoul and tells the story of Yeong-hye, a part-time graphic artist and home-maker, molly, whose decision to stop eating meat after a bloody, nightmarish dream about human cruelty leads to devastating consequences in her personal and familial life.

Published on 30 October 2007 in South Korea by Changbi Publishers, ''The Vegetarian'' was received as "very extreme and bizarre" by the South Korean audience. "Mongolian Mark", the second and central part of the novel was awarded the prestigious Yi Sang Literary Prize. It has been translated into at least thirteen languages, including English, French, Spanish, and Chinese.

''The Vegetarian'' is Han's second book to be translated into English. The translation was conducted by the British translator Deborah Smith, and was published in January 2015 in the UK and February 2016 in the US, after which it received international critical acclaim, with critics praising Han's writing style and Smith's translation. In May 2016, it won the 2016 Man Booker International Prize. ''The Vegetarian'' thus became the first recipient of the award after its reconfiguration in 2015, prior to which it was awarded to an author's body of work rather than a single novel. It is considered as Korean translated literature's biggest win since Kyung-Sook Shin's '' Please Look After Mom'' won the closing Man Asian Literary Prize in 2012. Prior to it winning the prize, ''The Vegetarian'' had sold close to 20,000 copies in the nine years since its first publication. In June 2016, ''Time'' included the book in its list of best books of 2016.

Plot

''The Vegetarian'' tells the story of Yeong-hye, a home-maker who, one day, suddenly decides to stop eating meat after a series of dreams involving images of animal slaughter. This abstention leads her to become distanced from her family and from society. The story is told in three parts: "The Vegetarian", "Mongolian Mark", and "Flaming Trees". The first section is narrated by Yeong-hye's husband Mr. Cheong in the first person. The second section is narrated in third person focusing on Yeong-hye's brother-in-law, and the third section remains in third-person but focuses on her sister, In-hye, while sporadically speaking in the present tense.

"The Vegetarian"

Mr. Cheong considers his wife to be "completely unremarkable in any way". He explains that when he first met her, he was not even attracted to her and that suits him just fine. Mr. Cheong is content meandering through life; it seems as if his only goal is to live a conventional, unremarkable life. He chooses to marry his wife since he thinks she would prove to be a good, dutiful wife who would fit nicely into the kind of lifestyle he seeks. After several years of relatively normal marriage, Mr. Cheong wakes up to find his wife disposing of all meat products in the house. He demands an explanation, and Yeong-hye replies vaguely that "I had a dream." Mr. Cheong attempts to rationalize his wife's life decision over the next few months and to deal with vegetarian meals at home, but as Yeong-hye gradually starts to eat less and continues to get thinner, eventually calls Yeong-hye's family and an intervention is scheduled. While around the dinner table, Yeong-hye's family attempts to convince her to eat meat; her father, who served in Vietnam and is known for his stern temperament, slaps her when she refuses. Her father then asks a reluctant Mr. Cheong and Yeong-hye's brother Yeong-ho to hold her arms while he force-feeds her a piece of pork. Yeong-hye breaks away, spits out the pork, grabs a fruit knife, and slits her wrist. The incredulous family rushes her to a hospital where she recovers and where Mr. Cheong admits to himself that she has become mentally unstable. As the section ends Yeong-hye manages to walk out of the hospital and when she is tracked down, she reveals a bird in her palm, which has a "predator's bite" in it, and she asks "Have I done something wrong?"

"Mongolian Mark"

The husband of Yeong-hye's sister In-hye, whose name remains unstated, is a video artist. He imagines a love-making scene between two people, with their bodies decorated by painted flowers and, upon learning that Yeong-hye has a Mongolian spot birthmark shaped like a flower petal, he forms a plan to paint and record her in order to bring this artistic image to life. It is revealed that he is attracted to Yeong-hye, especially after checking up on her—the narrator reveals that Yeong-hye has been served divorce papers by Mr. Cheong—and finding her unabashedly naked in her apartment. Yeong-hye agrees to model for him and he paints flowers across her body in a studio rented from an art professor in the area. He follows up this project with a second piece of art, which involves recruiting a fellow artist to join Yeong-hye in a sexually-explicit film. When the brother-in-law asks if the two will engage in actual intercourse, his friend becomes ashamed and leaves. Yeong-hye, who had become aroused during this sequence, claims it was because of the flowers painted on the man's body. The brother-in-law asks a friend to paint flowers on him and visits Yeong-hye, where the two engage in a recorded moment of intercourse. When his wife discovers the film, she calls "emergency services", claiming that both he and Yeong-hye are mentally unwell. He contemplates jumping off of the balcony, most likely to his death, but remains "rooted to the spot" and is escorted out of the building by the authorities.

"Flaming Trees"

In-hye remains the only member of the family to support Yeong-hye after her mental and physical decline. She has separated from her husband after the events of the previous section, and is left to take care of their son in addition to her deteriorating sister. As Yeong-hye's behavior worsens, she is admitted to a mental hospital at Mount Ch'ukseong, where, despite receiving high-level treatment for mania, she behaves gradually more plant-like. On one occasion she escapes the hospital and is found standing in a forest "soaked with rain as if she herself were one of the glistening trees". In-hye, who constantly ruminates about the pain of dealing with her divorce and the care of her child and who throughout the chapter shows signs of her own depression and mental instability, visits Yeong-hye regularly and continues to try to get her to eat. Yeong-hye has given up food altogether, and when In-hye witnesses the doctors force-feeding her and threatening sedation to prevent vomiting, In-hye bites the nurse holding her back and grabs her sister. In-hye and Yeong-hye are driven to a different hospital by ambulance, and In-hye observes trees as they pass by.

Development

Writing

Han first got the idea of writing about vegetation or plants when, as a university student, she came across the work of the noted South Korean writer Yi Sang. In particular, she was struck by the quote "I believe that humans should be plants." Han's lifelong exploration of the themes of violence and humanity are also sampled in the book, which primarily deals with human beings' natural and daily choices in terms of food. Talking to Sarah Shin for ''The White Review'', she said, "While writing ''The Vegetarian'', I was harboring questions about human violence and the (im)possibility of innocence. On the reverse side of the protagonist Yeong-hye’s extreme attempt to turn her back on violence by casting off her own human body and transforming into a plant lies a deep despair and doubt about humanity." In February 2016, while talking to Bethanne Patrick of Literary Hub, Han explained, "The idea for the book originally came to me as an image of a woman turning into a plant. I wrote a short story, “The Fruit of My Woman,” in 1997, where a woman literally turns into a plant. After several years (2003–2004) I reworked this image in ''The Vegetarian'', in a darker and fiercer way."

In a February 2016 interview with ''The Guardian'', Han Kang said, "As a teenager I suffered typical questions: why pain, why death? I thought that books held the answers, but curiously I realized they contain only questions. Their writers were weak and vulnerable just like we were." Writing the book was a difficult task, she said, with the main cause being her joint problems which started in her mid-30s. She wrote the entire novella in longhand