Pub Date : 2021-09-02DOI: 10.1093/oso/9780192843494.003.0006
E. Quinn
Chapter 5 turns to the manifestation of the monstrous vegan trope in two works by the British novelist Alan Hollinghurst: The Swimming-Pool Library (1988) and The Sparsholt Affair (2017). In order to establish the reparative potential of Hollinghurst’s vegan monsters, this chapter establishes the concept of ‘vegan camp’. Vegan camp is defined as a political aesthetic that transforms the trauma of recognizing the exploitation of animals into witty commentary on anthropocentric attitudes. Vegan camp offers the possibility of enjoying that which one is expected to repudiate, a queer mode of being and desiring that hyperbolically performs its failure to stand outside of existing structures of pleasure. Hollinghurst’s novels are seen to offer the potential of embracing derogatory vegan stereotypes as a means of challenging normative scripts of desire. Reading Hollinghurst’s novels through the lens of vegan camp offers a mode of asserting vegan agency.
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Pub Date : 2021-09-02DOI: 10.1093/oso/9780192843494.003.0003
E. Quinn
Chapter 2 focuses on the work of H. G. Wells and in particular his The Island of Doctor Moreau (1896). The Beast People of Doctor Moreau manifest a Frankensteinian legacy through their monstrous veganism, iterating the four key traits of the monstrous vegan as identified in Chapter 1. Framed through a consideration of ‘vegansexuality’, this chapter considers the relationship between alimentary and sexual desire. Contextualized in relation to late-nineteenth-century anti-vivisection movements and Darwinian ideas, veganism, as ethical abstraction divorced from the corporeal body, is seen to result in a failure to acknowledge the reality of human desires and the inescapably cannibalistic nature of our relation to others. The veganism of the Beast People is associated with artificiality, as a linguistic appendage that must be continually recited. Veganism is also seen as a spectre of the future, a utopian aspiration corrupted by its contact with the animal body.
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Pub Date : 2021-09-02DOI: 10.1093/oso/9780192843494.003.0007
E. Quinn
The concluding chapter provides a comprehensive summary of the preceding arguments, reflecting on the pervasive presence of the monstrous vegan trope across the past 200 years of Anglophone literature. The Conclusion asserts that the monstrous vegan is more than simply an interesting facet of literary history. The monstrous vegan offers a vital way of re-conceptualizing veganism in the present moment, a way of thinking through the complex coming together of utopianism and insufficiency that inhere in vegan modes of being in the world. The monstrous vegan provides an apt figuration for such complexities, as a composition of hybrid remains that resists fixed or stable meaning. It provides also a way of thinking about veganism through literature, and acknowledges the discursively constructed nature of ethical identities more broadly. The re-conceptualization of veganism through the monstrous is of urgent necessity in a world under threat from ecological collapse.
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Pub Date : 2021-09-02DOI: 10.1093/oso/9780192843494.003.0004
E. Quinn
Chapter 3 positions Margaret Atwood’s MaddAddam trilogy (2003‒13) as the culmination of the trajectory built across the previous two chapters, drawing directly on the monstrous vegans of Mary Shelley’s Frankenstein and H. G. Wells’s The Island of Doctor Moreau. The chapter argues that Atwood’s vegan monsters are presented as overdetermined literary constructions and signal the impossibility of connecting to a ‘pure’ or inherent vegan identity. Unpacking allusions to a wide body of vegetarian and vegan philosophy and thought within the texts, this chapter re-thinks ideas about narrative transmission and the reproduction of literary veganisms. The chapter ultimately argues that the recognition of historic vegan words, in the service of greater visibility and recognition, risks circumventing the complications and contradictions inherent to their transmission.
{"title":"Margaret Atwood and Monstrous Vegan Words","authors":"E. Quinn","doi":"10.1093/oso/9780192843494.003.0004","DOIUrl":"https://doi.org/10.1093/oso/9780192843494.003.0004","url":null,"abstract":"Chapter 3 positions Margaret Atwood’s MaddAddam trilogy (2003‒13) as the culmination of the trajectory built across the previous two chapters, drawing directly on the monstrous vegans of Mary Shelley’s Frankenstein and H. G. Wells’s The Island of Doctor Moreau. The chapter argues that Atwood’s vegan monsters are presented as overdetermined literary constructions and signal the impossibility of connecting to a ‘pure’ or inherent vegan identity. Unpacking allusions to a wide body of vegetarian and vegan philosophy and thought within the texts, this chapter re-thinks ideas about narrative transmission and the reproduction of literary veganisms. The chapter ultimately argues that the recognition of historic vegan words, in the service of greater visibility and recognition, risks circumventing the complications and contradictions inherent to their transmission.","PeriodicalId":391146,"journal":{"name":"Reading Veganism","volume":"242 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115255324","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-09-02DOI: 10.1093/oso/9780192843494.003.0002
E. Quinn
Chapter 1 argues that Mary Shelley’s Frankenstein (1818) marks the origins of the ‘monstrous vegan’ trope. The chapter establishes the vegetarian contexts influencing Shelley’s novel before outlining the principal defining traits of the monstrous vegan. First, the monster’s refusal to eat meat is evidenced and explored in relation to Romantic vegetarianism. Second, his hybrid physiognomy, composed of remnants from the slaughterhouse and charnel house, allows for close attention to acts of visual recognition throughout the novel. Third, the creature’s birth outside of the confines of heterosexual reproduction is explored in relation to his challenge to reproductive futurities, with vegetarianism seen to offer a circular return to a Golden Age of humankind. Finally, the creature’s relation to literary authorship establishes that monstrous vegans bring to the fore the difficulty of inscribing ethical identities onto bodies.
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Pub Date : 2021-09-02DOI: 10.1093/oso/9780192843494.003.0005
E. Quinn
Chapter 4 turns to the work of J. M. Coetzee, establishing a reparative means of confronting violence against the nonhuman. Framed in relation to Eve Kosofsky Sedgwick’s notion of paranoid and reparative reading, this chapter suggests what might be done with our identification of the monstrous vegan as a pervasive literary trope. Focusing on Coetzee’s Elizabeth Costello texts, this chapter reads Costello as a performative enactment of the monstrous vegan. The staging of veganism as performance is seen to enable a reclamation of joy, pleasure, and optimism: affective states often abandoned in order to bear witness to violence against nonhuman animals. The chapter argues that the literary staging of veganism as monstrous performance provides an important framework for re-investing in the possibilities of vegan identity: offering a mode of detachment that refuses moral purity or the claim of ‘the beautiful soul’ by acknowledging self-interest and an entanglement in the violence of representational strategies.
第四章转向J. M. Coetzee的工作，建立了一种对抗针对非人类的暴力的补救手段。本章与伊芙·科索夫斯基·塞奇威克的偏执和修复性阅读的概念相联系，提出了我们将可怕的素食主义者视为普遍存在的文学比喻时可以做些什么。本章聚焦于库切的伊丽莎白·科斯特洛文本，将科斯特洛解读为可怕的素食主义者的表演。将纯素食主义作为表演的舞台被视为能够重新获得快乐、愉悦和乐观:为了见证对非人类动物的暴力行为，情感状态常常被抛弃。本章认为，纯素食主义的文学舞台作为可怕的表演，为重新投资纯素食主义身份的可能性提供了一个重要的框架:通过承认自身利益和表征策略的暴力纠缠，提供了一种超然的模式，拒绝道德纯洁性或“美丽灵魂”的主张。
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