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If you’ve heard anything about the German novel Wetlands, you’ve probably heard that it’s grody. Despite not yet being released in the States (read the opening chapters here), it’s already sold over a million copies worldwide, in no small part because of the buzz incited by the protagonist — an eighteen-year-old girl — eating her own boogers, pus, and menstrual blood; leaving used (homemade) tampons in hospital elevators; and describing in detail a penchant for sex during her monthlies or up the ass, giving her men the option of a "chocolate tip." (As Catherine Breillat, Melissa P., or Michel Houellebecq have shown, a good way to sell books in Europe is to be kinky, icky, or both.) Then there’s the frisson between the book’s obscenity and the identity of its author: not a Bukowski-esque lowlife, but Charlotte Roche, a sprite-voiced thirty-year-old German TV personality. Part of the hubbub must come from the titillation of imagining a cute celebrity in such lurid HD. Roche admits she tried to stretch the envelope of shock, and for those unfamiliar with Sade, she will probably succeed. Wetlands, predictably, has drawn a Mason/Dixon; one camp is outraged by its "filth" (but buying many copies), another thinks it a feminist manifesto (against the "purification" of women’s bodies). In my opinion, both miss the fundamental humor underlying the book, and the fact that beneath all the poo and smegma there’s a nice little story of a lonely, sad girl. As I discovered in talking to her, the most autobiographical elements of the story are emotional, not carnal, making it more than the mere provocation it may at first seem. — Jack Harrison You have such a delightful accent. My feelings about the book didn’t seem that well represented in the press. To me it seemed playful, but people seem to be taking it very seriously. If you read it in a very serious way, it’s even more disgusting and difficult to cope with. But if from the beginning you try to see it in a light way, you can cope more easily with all the disgusting parts. I don’t think Hooksexup readers will feel the need to take it as a serious, serious political thing, because many of them already feel liberated the way Helen is liberated. That stuff is part of a literary tradition; I don’t know if you intended it to be?
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One senses that you feel a lot of kinship with Helen. If she were a relative, would you take her to parties? There’s a lot of passing wisdom in the book, a lot of philosophical asides. Is there any philosophy in particular that you were especially happy to fit in? It’s a good thing that some people can use it as an anti-disinfecting manifesto if they choose to — that’s a nice message — but I do think it takes away from the book as a story. The second half is less outrageous, and we get closer to Helen. I hope people don’t lose the subtle emotions and interactions with her family amid all the hype about its shocking parts. It seems like the first half of the book has the agenda to provoke, to make political statements, and to shock, whereas the second half is more about her family and her feelings. Were you trying to get the first things out of the way so you could tell the story you wanted to tell? What will your next book be on? Read an excerpt of Wetlands here. To purchase Wetlands, please click here.
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