Acknowledging others for their true merits, even if those merits are merely being a living creature, is inherently required in perpetuating humanity. Without it, societies would devolve rapidly. What are humans without humanity but merely beings, cruelly isolated from their compassion. Unfortunately in modern society, voice has been equated to worth, and regarding others as inferior is as easy as ignoring their voice. As discussed in My Year of Meats by Ruth Ozeki, this complete disregard for others is substantially damaging to the silenced and advantageous for the privileged. Throughout the novel, both women and animals are treated as collateral by those with louder voices. However, this blatant ignorance is not an organic phenomenon, rather
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Ozeki purposefully incorporates this phenomenon in order to further the intensity of her point, as it demonstrates the non exclusive nature of oppression. It specifically details how though a group can be discriminated against, it is not always apparent, nor true for every moment. When Jane is pregnant, her previously libido-driven disrespectful crew is concerned for her safety, with Dave, Suzuki, and Oh all making verbal attempts to affirm her well-being (Ozeki, 262-268). Despite their blatant disregard for the majority of females within the text, they embrace her impending motherhood and encourage her to put her health above all. They suddenly appreciate her womanhood rather than ignore and objectify her, creating a deceptively safe environment for her voice due to their apparent acceptance of her pregnant status despite not truly offering any kind of support. Though animals don’t enjoy the same luxury while alive, BEEF-EX, in its fundamental ideals, has “the meat (not the Mrs. who’s the star of our show!” (Ozeki, 8). Meat as an enjoyable, delicious medium of sustenance is constantly revered in a way which might suggest a kind of respect for the origin, however this respect is never present. The celebration of meat seems to make the practices depicted throughout the novel as less horrid, but there is no
Ozeki purposefully incorporates this phenomenon in order to further the intensity of her point, as it demonstrates the non exclusive nature of oppression. It specifically details how though a group can be discriminated against, it is not always apparent, nor true for every moment. When Jane is pregnant, her previously libido-driven disrespectful crew is concerned for her safety, with Dave, Suzuki, and Oh all making verbal attempts to affirm her well-being (Ozeki, 262-268). Despite their blatant disregard for the majority of females within the text, they embrace her impending motherhood and encourage her to put her health above all. They suddenly appreciate her womanhood rather than ignore and objectify her, creating a deceptively safe environment for her voice due to their apparent acceptance of her pregnant status despite not truly offering any kind of support. Though animals don’t enjoy the same luxury while alive, BEEF-EX, in its fundamental ideals, has “the meat (not the Mrs. who’s the star of our show!” (Ozeki, 8). Meat as an enjoyable, delicious medium of sustenance is constantly revered in a way which might suggest a kind of respect for the origin, however this respect is never present. The celebration of meat seems to make the practices depicted throughout the novel as less horrid, but there is no