This chapter sets Ruth Ozeki’s My Year of Meat in its central place in the story of the emergence of meatfiction, by reading it firstly against the American tradition out of which it emerges—one which stems from the muckrakers of the early twentieth century through to the New Journalism of the postmodern period—and secondly against other fiction such as Katherine Dunn’s Geek Love, which is the subject of a pointed (but, so far, neglected) allusion at a key moment in Ozeki’s story when she sharpens her predecessor’s critique of the American meat industry. At the same time, this chapter reads My Year of Meat in the light of recent trends in the post-#MeToo publishing landscape, namely, the ‘sad girl’ novel and the revival of key ecofeminist writers. Broadly speaking, where the first wave of criticism of Ozeki’s novel focused on the human at the expense of the animal, the second wave focuses on the animal at the expense of the novel’s romance. By bringing the insights of the two together, I argue that Ozeki’s concern for the lives of animals is intimately bound up with her treatment of love, to which animal agriculture is the antithesis.