244 Feminist Studies 40, no. 2. © 2014 by Feminist Studies, Inc. Laura Anh Williams Gender, Race, and an Epistemology oftheAbattoirin My Year of Meats The question, truly, is how does someone become a piece of meat? And the answer is, we really don’t want to know. —Carol J. Adams, The Pornography of Meat1 It’s a bizarre sight to enter a slaughterhouse where the head slaughterer is holding a gun, the prisoners have knives, and the guards of the prisoners have guns. I feel unarmed, along with the animals. —Sue Coe, Dead Meat2 In an episode of the 2007 Showtime documentary television series This American Life titled “Pandora’s Box,” public radio host Ira Glass visits a hog farm in Iowa. The segment focuses on the technologies utilized by an independent farmer to keep up with industrialized slaughterhouses . In his narration, Glass contemplates the ironies of injecting pigs with growth hormones that hasten the animals’ muscle development but also make them less tolerant of cold weather and weaken their immune systems. The pigs’ entire six-month life span is spent indoors in heated pens, where they grow to an average of three hundred pounds before slaughter. As the camera crew captures this portrait of contemporary 1. Carol J. Adams, The Pornography of Meat (New York: Continuum, 2003), 13. 2. Sue Coe, Dead Meat. (New York: Four Walls Eight Windows, 1995), 62. Laura Anh Williams 245 pig farming, the show’s sound technician, Eddie, is sickened by what he sees. The scene transitions from a worker sliding halved pig carcasses across a refrigerated room to a close up of a sow giving birth onto the metal grated floor of her pen as Glass, in a voiceover, narrates: It was hard to tell. Did all of this just seem weird to us because we weren’t used to it? Or was it the opposite? Because we weren’t used to it, we were the only ones who could see how truly weird it was. Whatever the case, eventually, everything started to seem unnatural. At one point, we came across a sow delivering piglets, and this, out of everything we’d seen was the straw that broke Eddie’s back.3 Eddie is followed by the cameraman out of the pig barn and is caught doubling over. He explains, “I had vomit in my mask, trying to be cool, and pigs were shooting out the pig’s ass and I threw up. Okay?”4 The remainder of the segment intersperses interviews with “pig improvement ” animal genetics researchers at Iowa State University, shots of the camera crew hanging out in rural Iowa and trying to win a Superman doll from a crane arcade game, the hog farmer discussing teaching his son to farm with a small group of pigs in an old-fashioned outdoor pen, rural landscape scenery, and a shot of one of the crew “flying” the Superman doll out of a car window. Although Glass’s voiced-over narrative wraps up the segment ambivalently discussing the lone hog farmer, nostalgia , and technology, the final shot is a slow motion one of the camera crew inside the hog barn, and the final comment from Glass is that Eddie hasn’t eaten meat since filming. The segment brings together questions of nature and technology, animals and humans, birth and slaughter, appetite and abjection. What the episode seems to leave unspoken, however , is the gendered focus of its gaze. The program includes interviews with male researchers, lingering shots of the male hog farmer and his son, and the white male film crew’s investment in the Superman character. The episode even includes images from catalogs of, as Glass describes, “ridiculously well-endowed boars with names like Big Unit, Four-Wheeler, Hulk, and Total Package.” However , the “unnatural” image that initiates Eddie’s abjection is that of a 3. Ira Glass, “Pandora’s Box,” This American Life, aired April 26, 2007, http:// www.thisamericanlife.org/tv-archives/season-one/pandoras-box. 4. Ibid. 246 Laura Anh Williams sow giving birth to piglets. Eddie’s justification for his queasiness at the image, “pigs were shooting out of the pig’s ass,” equates the birth of piglets...