
I read
Wetlands by Charlotte Roche a couple of weeks ago, and am disappointed to opine that it was utter rubbish.
I was intrigued by the discussions surrounding this book, the first novel by an ex-newsreader with a tragic past who is, it has to be said, a total fox; being the 'biggest selling book on Amazon ever'; the discussion of whether it was feminist porn, thinly disguised run-of-the-mill porn, or a poorly written novel with interesting content, or simply a crap novel.
It's a read-in-an-evening type of book, and the only thing I can attribute its success to, other than its wonderful title and cover-image, is cultural obsession with hygiene, and the titillation of shock value. It was like listening to a fifteen-year-old trying to shock the adults at their parents' dinner party, so desperate to gain attention, so earnestly trying to transgress, but in the end so two-dimensional and contrived. The character development in this book is non-existent, and of course one could argue for this as a Beckettian strategy of whittling down to the barest elements, but it struck me as a matter not of intention but either as neophytical oversight, or deliberate presentation of a blank-slate central female protagonist to be projected upon by aforementioned titillated hygiene obsessives, though what befuddles me in this regard is that the book, for all its viscerality and bodily explorations, was, to me, sexually uncompelling throughout.
The other thing which suggested the lack of characterisation as shortfalling rather than strategy was the attempt to thread the plot onto the reunification of the parents over the daughter's hospital bed, but because you didn't
know them, and knew almost nothing of their prior relationship other than that it was unhappy, you couldn't empathise, and therefore couldn't care a fig whether they reconciled or not, though I concede you could feel a bit sorry for the daughter for her delusions.
I found myself questioning what could be identified as making this book feminist. The abjection, and acceptance and wielding of that abjection by a young woman, sure, but to what end? Smearing bodily excretions around public places as act of feminist empowerment? There are little traces of shit, piss, cum, spit, snot, discharge etc. everywhere, throughout public spaces, and if there weren't we'd probably all be as sick as dogs due to atrophied immune systems.
Wetlands didn't even go so far as to enter into a discourse on why too much hygiene is unhealthy.
Perhaps it is inherent to my narrative-driven nature that I found it disappointing that the main character Helen (yes, my namesake) was so lacking in personality, or if one wants to give Roche more credit, so incapable of conveying her own personality, of characterising herself beyond descriptions of her haemorrhoids and so forth. She doesn't seem to self-reflect, she is never described in terms of her outward appearance. And then a sudden walking-into-the-sunset type of ending, betraying any possibility of Helen's shortfallings being a clever pathologisation by the author.
Ugh! Maybe it's better in German. The translation into American english certainly didn't do it any favours.
The characterisation in Christos Tsiolkas'
The Slap was unsatisfying to me because it struck me as a host of variously shaped and sized vessels all filled with the essential elements of the same (probably Christos') personality, they all had pretty much the same degrees of drive, bitterness, vengefulness etc., there was very little variation in temperament between the characters. But it at least had social and socio-historical dimensions, and a level of dialogue which lent it sophistication.
The Slap, for its problems, is a far better book than
Wetlands, to my mind.