Reviews with content warning for Sexual harassment - The Vegetarian

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The Vegetarian by Han Kang

54 reviews

heyludi's review against another edition

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dark tense fast-paced

Plot- or character-driven? A mix
Strong character development? No
Loveable characters? No
Flaws of characters a main focus? Yes

3.0

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documentno_is's review against another edition

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challenging dark sad tense fast-paced

Plot- or character-driven? Character
Strong character development? It's complicated
Loveable characters? It's complicated
Diverse cast of characters? No
Flaws of characters a main focus? Yes

4.5

Ever since Han Kang was announced as the winner of this year’s Nobel Peace Prize in literature I knew I wanted to attempt finishing this book I had dropped off long ago. I’ve seen many criticisms of this novel for being too graphic and having poor line level craft (being too obtuse.) In terms of the translation I can’t say I felt too negatively about it. I accept it is a translation and most things in a literary sense will be lost to cultural context. Having some knowledge of Korean society provides a lens for the starkly pro-meat society, along with the severe patriarchy, and age-based cultural caste system. The main character is clearly a part of a traditional culturally conservative family and while this seeks to amplify some of the dramatic tragedy of this story it never feels unbelievable.

I know there has been backlash towards the translator for changing some of the events of this novel. I think translation is an art in itself- trying to provide missing cultural context is better than literally translating a passage (in my eyes.) I also think maybe putting this in the realm of contemporary fiction rather than horror could ascribe to some of the poor reviews. Like, yes of course it’s shocking and grotesque, its an allegory.. Not to mention I think some recent reviewers may be forgetting this was published in 2007- it’s been well over a decade since the world this novel was pointing at and Korea is on a much more global stage than it was at the time.

Part 1

It is clear from the beginning of the novel the narrator only knows his wife through his own context, looks for how she may serve him rather than who she is as a person. Her behaviors such as not wearing a bra- give way to his disappointment in adherence to typical feminine social norms but also sees her breasts as something to “display” to his male friends; regards them as not impressive enough to hold on their own.

Often talks about how she makes herself small to accommodate him- it suits him when he feels alone in a room or free to pursue his own hobbies. Rather than a partnership their relationship is one in which he believes *he* has something to offer and her duty is to perform domestic tasks. When she starts spending time in the kitchen he talks often about how she looks “disheveled” or immodest in opposition of his preferred view of her as demure and small.

We are then given the first excerpt from the wife’s perspective; not in her real life but in her dream. She is dreaming of endless meat and being forced to eat it. She describes the meat in repulsive ways almost likening it to human flesh. The breakfast scene the next morning is interesting because it reminded me of the fun fact that there is no word for vegan in Korean, only vegetarian and then saying no milk and eggs as well. The wife is essentially implying the husband only eats one meal at home so it shouldn’t be so difficult of him to give up only meat for one meal. This her first real "ask" for any sort of accommodation within this novel and it is met with harshness and lack of understanding. It is easy to see how this inciting event foreshadows the rest of the events in part 2 & 3.

The reader realizes well before the narrator that this is a greater rejection of him as a person rather than just “vegetarianism.” She stops sleeping, she looks ill, she stopped something she was skilled at (cooking) to now only cook barren vegetarian meals and now she is also actively avoiding sex with him. Rather than showing concern the narrator focuses on how it negatively affects him: “she’s changed” or “she’s difficult now.” In his own passages her husband presents himself as even tempered and logical but in her memories he is unreasonable and quick to anger. He doesn’t consider her or think about her and she finds ways in her mind to respond and calm herself down.

After the failed dinner with his boss our narrator begins to seek “solutions” which could also be seen as tactics of revenge. Knowing the Korean societal and social pressure of the family unit the fact that he essentially shames her to her mother and older sister shows that he expects behaviors of her that she is not completing and her family agrees she’s not fulfilling the transactions of their marriage.

After her second dream the novel takes a much darker tone. We read through the husband’s perspective that he feels incredibly put out “in his prime” and then details raping his wife, with the implication he follows up on his actions multiple times in the future. Along with this he expects the wife’s family to also admonish her as his father in law mentions how ashamed he is of his daughter. In the first rape scene the narrator compares the way his wife is lying to “a comfort woman” referring to the horrible practice of the Japanese forcing Korean women to become concubines during the war. He lays down clearly that he feels entitled to his wife’s body and her unwillingness to provide it enthusiastically is a slight towards him in his eyes.

The third of the wife’s dreams is interesting because it implies she also is not entirely a willing participant in her transformation- it does not appear that she wants to be losing weight and she sees her body as something capable of hideous violence.

All of this comes to a head at the wife’s family dinner party, where all of the family ways in on her decision. She faces them down with dispassionate coolness and her father manages to force some meet in her mouth which she spits up. She then appears to slit her own wrists rather than eat the meat and is rushed to the hospital.

We then get another snapshot of her father’s cruelty in a scene from childhood where her father murders a dog by forcing him to run in circles until he dies. This is in response to the dog biting him.

After her stay in the hospital it seems like she has a full psychiatric break in which she crushes a baby bird to death in her bare hands.

Part 2

Part two of this story begins on equally bleak terms, the subject of the story is once again the wife but this time she is the object of affection of her brother in law. It’s interesting that King chooses to give the vegetarian no agency in her story-although I can see how this narrative technique emphasizes the lack of agency she has in her own life. We hear more about hers story and the narration clarifies we are now in the period immediately after part one’s events

and that the Yeong Hye’s husband has decided to divorce her. I think the reader feels a certain sense of dread knowing the nature of the brother in law and that he seeks to reach out to her after her divorce.

The author then goes in great detail to describe that the brother in law’s newfound attraction to his sister-in law is directly in proportion to her “Mongolian Mark” a sort of birthmark that kids have that goes away before adulthood. This relation to childhood and his attraction to her causes the reader immediate revulsion and feels premonitory to the events that might take place later in the novel.

The brother in law chooses to then use her as subject for the art he’s been wanting to make, and paints her naked body while filming himself doing do. As he paints he remarks often that he does not see her body while painted as sexual- her desire to extinguish the life from her body has also “murdered” her existence as a sexual being at this moment. During this session he also takes time to think about her comfort with nakedness and the time she spent in the hospital- it’s worth noting that both the ex husband and her brother in law focus heavily on the idea of her exposing her nakedness to the public as the most shocking and impactful element of her breakdown and not the fact that she had murdered a baby bird.

As we get more moments of the brother in law with Yeong-Hye’s sister we can see they have an equally one-sided and dysfunctional relationship. He often prioritizes his work and desires over her- leaving her to to take on child care almost single handedly. As she cries multiple times in frustration of him he is equally oblivious to her and only has concern with his desires in the end. We have the contrasting descriptions of him with Yeong Hye’s ex husband, whom he clearly hates, but acts almost identically just with a larger sense of moral superiority because he “appreciates” Yeong-Hye (even while he provides nothing for his wife or children.)

It is almost humorous the way our narrator crosses from “surely I couldn’t” to “I’m planning on orchestrating” concerning his vivid sex fantasy surrounding his sister in law. He chooses the other subject- J, his studio mate and is going to force them into pornography somehow. Meanwhile he brushes off his wife and whines about her lack of anger at his behavior. He sees her impassivity and lack of anger at him as a character flaw.

The brother in law ultimately has an old friend paint flowers on him, and then has sex with his sister in law. As he’s discovered he mentions regret only in the context of his feelings and doesn’t seem to regard much for his sister in law or his own wife.

Part 3

This final part is told in perspective of Yeong Hye’s sister, who we learn is her elder of four years.

We know that Yeong Hye is in a psychiatric hospital as she receives a call that she has gone missing, and we know that she goes to visit her.

We also get part of a chapter that describes her life with her husband as lonely and alienating- when she realizes there is a possibility her husband never loved her and even when they were together her song didn’t seem to know he existed.

These parts seem to be treated in the vein of short stories- there is a character with obsession or affliction whose condition leads inevitably to their demise.

Yeong Hye’s attempts at freeing herself from the tyranny of her existence drive away her terrible husband but also incite her mental breakdown. Th brother in law’s sexual obsession with Yeong Hye leads to the cracks in his own marriage finally consuming him and he engages in creating pornography and then having sex with Yeong Hye. Knowing how much more conservative Korea is towards sex can illuminate the reader to how scandalous this text could be perceived to the intended audience.

In this chapter we are met with a constant repetition of blame- everyone blames themselves for Yeong-Hye’s inability to engage with society “properly.” Character by character we see the ways she has supposedly been failed by their actions or maybe society at large.

There is this larger motif of plants and trees, Yeong-Hye keeps saying she has become a tree. This maybe relates to her trauma with the flowers in the second chapter and then her larger aversion to meat. She is self-inflicting the pain she has caused animals and nature and this pain mimics the pain that society and these other characters inflict upon her.

The novel then ends in a somewhat open ended way, both in that the literal events are a tad obtuse and then the metaphor is a little disconnected. She mentions in a passage how easy it was to abandon her child- this goes along well with In-hye’s character as the self sacrificial character who experiences the same harshness of life that Yeong-hye has. Still we are left open to this idea of whether or not she has actually abandoned her child? Or is he at home with some kind of sitter while she tends to Yeong-Hye. Yeong-Hye is neither entirely living nor dying as she very well seems to want to; neither sister ends the novel in any kind of resolution but it does seem like In-Hye’s perspective is very much in opposition of Yeong-Hye’s. She admits she too feels stifled and has her own desires- but can’t give in to them for feel of societal pressure or perhaps somewhat the unknown. In many ways In-Hye is an agent of upholding the same societal structures that got Yeong-Hye to the way she is.

Content Warnings

jessicamusch's review against another edition

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challenging dark emotional sad medium-paced

Plot- or character-driven? Character
Strong character development? No
Loveable characters? No
Diverse cast of characters? No
Flaws of characters a main focus? Yes

4.0

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jojotimber's review against another edition

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challenging dark emotional sad tense medium-paced

Plot- or character-driven? Character
Strong character development? It's complicated
Loveable characters? No
Diverse cast of characters? No
Flaws of characters a main focus? Yes

3.25

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clavishorti's review against another edition

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challenging dark emotional mysterious reflective sad tense medium-paced

Plot- or character-driven? A mix
Strong character development? It's complicated
Loveable characters? It's complicated
Diverse cast of characters? No
Flaws of characters a main focus? It's complicated

5.0

Kim Yeong-hye, an ordinary woman trapped in the monotony of her everyday life, is suddenly ensnared by haunting nightmares. These spectral visions, awash with blood and chaos, disrupt her reality in ways she never imagined. In a desperate attempt to escape the terror of her own mind, she makes an unconventional choice—vowing to forsake all meat. But this seemingly minor decision is only the beginning of a much deeper and more unsettling transformation. As Yeong-hye is drawn further into a silent rebellion that morphs into something far more sinister, she plunges into an abyss that defies human comprehension.

Where will this eerie journey lead her?

The term ‘vegetarian’ might be familiar, but its meaning has evolved beyond a simple dietary choice. What was once seen as a mere preference has now become a lifestyle—an expression of deep moral, ethical, and health convictions. Essentially, vegetarianism focuses on a plant-based diet, excluding all forms of meat and sometimes even products derived from animal slaughter. Those who follow this practice are known as vegetarians.

In The Vegetarian by Han Kang, we meet a protagonist whose experience is anything but ordinary. She wakes up sweating, haunted by nightmarish shadows that radically alter her view of the world. This dream makes her see life and death through a new lens, leading her to believe that quitting meat is not just a choice but an undeniable necessity. Yet, her decision to become a vegetarian spirals into something far more extreme, more terrifying, and potentially more dangerous as the lines of normality start to fade.

The phenomenon is intriguing, as vegetarianism and even veganism are now seen as conventional and widely accepted. But what if such a dietary shift happens under extreme circumstances? What if this decision triggers a series of horrifying events that shatter the protagonist’s soul and disrupt the lives of those around her? Here’s where the book’s uniqueness and appeal come into play: it explores the depths of the human psyche through Kim Yeong-hye’s story—a woman whose simple choice to stop eating meat unravels into a complex web of conflict, both within herself and her surroundings.

The book is structured in a compelling way, divided into three chapters, each offering a different perspective. However, what makes it stand out is that none of these viewpoints belong to Kim Yeong-hye herself. The story is told through the eyes of those around her: her husband, Mr. Cheong; her brother-in-law, the spouse of her sister; and her sister, Kim In-Hye. This approach lets us see how Kim Yeong-hye’s choice to become a vegetarian is perceived by her close circle, how it impacts their lives, and ultimately, how it forces them to confront their own often dark realities. These three chapters guide us through an emotional journey filled with conflict, revealing the deepest layers of each character and making us question what really lies beneath the surface.

In the first chapter, “The Vegetarian”, we delve into the radical choice of Kim Yeong-hye. From Mr. Cheong’s perspective, her decision to stop eating meat is seen as an unforgivable rebellion. Mr. Cheong, with his conservative views, believes a wife should adhere to societal norms and be submissive. His cynical and scornful attitude towards his wife reflects a deep-seated patriarchal mindset; he views Kim Yeong-hye’s choice as both shameful and a threat to their marital harmony. This chapter reveals Kim Yeong-hye’s life as an emotionally isolated wife, trapped in a loveless marriage, shrouded in unspoken darkness.

But the tension doesn’t stop there. We learn that Kim Yeong-hye has lived under the shadow of violence since childhood. Her father, an authoritarian figure, was harsh, often using physical violence as punishment and control. From a young age, she was accustomed to a life of repression and fear, where her voice went unheard and her will unappreciated. This childhood trauma seems to be the root of her inner conflict, pushing her towards a personal rebellion through a choice that might seem trivial but is deeply significant. Her decision to become a vegetarian is not just about rejecting meat; it’s an attempt to break free from the chains of control that have bound her life since childhood—chains once held by her father and now by her husband.

Through this carefully crafted chapter, the author critiques the patriarchal system and a society burdened with rigid social standards. Kim Yeong-hye’s choice to become a vegetarian symbolizes resistance against these norms. The story highlights how women are often trapped in cycles of recurring violence—both physical and psychological—due to oppressive social and cultural demands. “The Vegetarian” invites deep reflection on freedom and self-identity. Kim Yeong-hye’s decision is a symbol of a profound search for self, an effort to escape external control and discover true meaning in life. Yet, it also underscores the difficulty of being oneself in a world that doesn’t always welcome differences and bravery.

In the second chapter, “Mongolian Mark”, we’re drawn into a provocative and unsettling story through the eyes of an anxious narrator—Kim Yeong-hye’s brother-in-law, a man increasingly consumed by his dark obsession. This man, who is married to Kim Yeong-hye’s sister, Kim In-hye, discovers what he believes is a hidden gateway to his repressed fantasies when he sees a Mongolian mark on his sister-in-law’s body. The Mongolian mark, a faint blue birthmark common among Asian babies, should be normal, but to him, it becomes an exotic, mystical, and erotic symbol—an obsession that gradually erodes his morality. He views this mark not merely as a physical oddity but as a symbol of primitive and wild allure, igniting his artistic instincts and awakening desires far beyond the bounds of propriety.

As the story unfolds, the seemingly calm brother-in-law reveals his darker side, full of manipulation. Behind the façade of a visual artist, he is, in truth, a predator closely observing his prey. He becomes obsessed with creating an art project that uses Yeong-hye’s body as a canvas, painting symbolic flowers on her skin, as if her body were merely a lifeless object he could shape to his whims. Yet, beneath this artistic pretense lies a cover for his insatiable sexual desire for Yeong-hye. This obsession goes beyond admiration and transforms into a pressing urge to conquer, dominate, and possess.

In his mind, art and sexual desire blur into a mix of passion and power. He doesn’t see Yeong-hye’s body as something valuable or sacred but as raw material to exploit for his own depraved fantasies. He views Yeong-hye not as a human with feelings, boundaries, or traumas but as an object to be polished, manipulated, and molded into whatever he desires. His desire turns him into a cunning and manipulative figure; he uses his influence and position to coerce Yeong-hye into his planned art project, disregarding her will or consent. Here, the lines between love and violence, art and torture, become disturbingly thin and blurred.

The author effectively portrays the brother-in-law as a representation of patriarchal power, using women’s bodies as tools for personal gratification. In his actions, he disregards all moral and ethical norms, using art as an excuse to justify his horrific deeds. He manipulates situations to serve his own selfish needs, ignoring the damage he inflicts on Yeong-hye’s life and psychological well-being. In doing so, he reveals the vulnerability of women under the shadow of male control and domination, even within a supposedly safe environment like family.

This chapter forces readers to confront the harsh reality of how art, when twisted by depraved individuals, can become an instrument of violence. The brother-in-law not only crosses ethical boundaries in art but also moral boundaries as a human being. He demonstrates that when desire and power run unchecked, even the most beautiful things, like art, can become tools of destruction. Here, the author challenges readers to reflect on how uncontrolled desires can manifest in the most dangerous forms and how the boundaries between art, power, and devastation are often much thinner than we imagine.

In the third chapter, “Flaming Trees”, we dive into Kim In-hye’s world, Kim Yeong-hye’s sister, who is now ensnared in her own labyrinth of confusion. This chapter delves deeply into how Yeong-hye’s radical decision impacts her family, especially Kim In-hye. Yeong-hye’s extreme step to become a tree doesn’t just create turmoil in her own life but also sets off a destructive domino effect around her. This choice is a radical statement against a monotonous and restrictive life, an attempt to escape a mundane routine and seek peace in a purer form of existence.

Kim In-hye, who once appeared strong and stable, now faces profound emotional turmoil. Watching her sister embrace life as a tree, In-hye must confront the bitter reality of a life that has failed to fulfill her hopes and desires. Her empty marriage, monotonous daily routine, and the weight of single motherhood exacerbate her feelings of loneliness and confusion. Her husband, after being involved in a scandal with Yeong-hye, has left, leaving In-hye in solitude, forcing her to confront her circumstances head-on.

Here, the author presents a stark contrast between the life principles of Kim Yeong-hye and Kim In-hye. While Yeong-hye rejects social norms and seeks a more authentic and natural way of living, Kim In-hye is trapped in a conventional world that increasingly confines her. This difference creates a deep rift, intensifying the tension in their relationship. Yeong-hye’s decision to defy conformity not only shakes up her personal life but also forces those around her to reassess their own life meanings. Amidst the chaos, In-hye must reflect on her own existential meaning and how these differing values have impacted every aspect of her life.

This chapter is not just about the impact of extreme decisions on a family but also about how trauma and suffering can ripple out and create crises that force individuals to face often painful realities. By exploring the feelings and conflicts that arise, the author invites readers to contemplate their own lives and the challenges faced in their journey to find meaning and peace amidst the chaos.

The Vegetarian by Han Kang, masterfully translated into English by Deborah Smith, beckoning anyone eager to immerse themselves in a narrative that is both profoundly unique and deeply resonant. Far beyond a mere story, this novel dives into essential themes—life, personal choices, and, above all, the female experience in society. With its mesmerizing prose and a plot brimming with unexpected turns, The Vegetarian demands introspection and challenges readers to unravel the intricate layers of human existence. Every page offers an emotional odyssey, awakening the soul and igniting reflection.

Content Warnings

ixristinareads's review against another edition

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reflective medium-paced

Plot- or character-driven? Character
Strong character development? Yes
Loveable characters? It's complicated
Diverse cast of characters? No
Flaws of characters a main focus? Yes

4.0

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krispyyk's review against another edition

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challenging dark emotional sad tense medium-paced

Plot- or character-driven? Character
Strong character development? It's complicated
Loveable characters? No
Diverse cast of characters? It's complicated
Flaws of characters a main focus? Yes

4.0

Read this book because of the polarized reviews it has and came out of it on the side of those who liked it. Definitely really difficult to read and often very uncomfortable/disgusting, not for everyone. However it was a unique and memorable story about mental health, patriarchy, and shame.

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saint_eleanor's review against another edition

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dark emotional mysterious slow-paced

Plot- or character-driven? Character
Strong character development? Yes
Flaws of characters a main focus? Yes

4.0

I really loved this book, it was so heartbreaking and weird. Some of it seemed kinds on-the-nose but i lack the cultural background to appreciate 100% of the writing. Its really interesting how vegetarianism is received in Korean culture, though obviously the vegetarian aspect was more of a metaphor for going against the grain as a woman, and also picked up major anti-consumerism anti-individualism vibes, the people in the MC’s life can’t fathom that she would want to do something for herself or have her own thoughts that conflict with High Society, and it ultimately breaks her. If you like this book you should watch Kotoko (2011)

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alexiasp's review against another edition

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dark tense medium-paced

Plot- or character-driven? Character
Strong character development? Yes
Loveable characters? No
Diverse cast of characters? No
Flaws of characters a main focus? Yes

2.0

What did I just read? I am disturbed.
This is marketed as a "feminist" novel (I guess?), but it seems to be more about Yeong-Hye's mental illness?

Yeah I am confused. Also, this has literally every trigger warning.

Content Warnings

tangerinejellies's review against another edition

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dark emotional reflective tense fast-paced

Plot- or character-driven? Character
Strong character development? It's complicated
Loveable characters? No
Diverse cast of characters? N/A
Flaws of characters a main focus? It's complicated

5.0

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