Table Of Content
Where Musil had a Man Without Qualities, Roche brings us a Woman without Pants. Roche left home in 1993, still aged 17, and formed the garage rock group The Dubinskis with three female friends. The band never released an album, nor recorded any material, nor notably performed anywhere. There followed a period where she undertook anything that would shock and offend people—self-mutilation to paint with blood, drug experiments, or shaving her head. After successfully auditioning for the German music channel VIVA, she worked there for several years as a video jockey and presenter, as well on the sister channel Viva Zwei, where she presented her show Fast Forward.
About the author (
Already troubled by a complicated family history, Kiehl has been left a "wounded animal" by the accident. She is suicidal yet terrified of death, and clings to sanity for the sake of her husband and seven-year-old daughter with the help of thrice-weekly sessions with Frau Drescher, her therapist. Roche certainly knows how to write a memorable opening scene.
To bodily go ...
Feuchtgebiete, which translates roughly as ‘wetlands’ or ‘moist patches’, was published by Cologne’s Dumont Verlag earlier this year. It is narrated by eighteen-year-old Helen Memel, an outspoken teenager whose childlike stubbornness is paired with a premature sense of sexual confidence. After a failed attempt to shave her intimate parts, Helen ends up in the Department of Internal Medicine at the Maria Hilf Hospital. She doesn’t leave the ward for the rest of the novel.
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I can only wish that the young women who think “Wetlands” sounds intriguing will head to the erotica section of the nearest women’s bookstore first. Laid out on a hospital bed, bottom bare to the breeze, Helen ruminates at length on her body and its products. Occasionally, some oafish doctor comes in and says something oafish (this part is quite believable). Sometimes, Helen is in pain and sometimes she is hungry. But mostly, she thinks, in the great German tradition.
Personal details
We’re obsessed with cleanliness, with getting rid of our natural excretions and our body hair. So I wanted to write about the ugly parts of the human body. In order to tell that story, I created a heroine that has a totally creative attitude towards her body – someone who has never even heard that women are supposedly smelly between their legs. Eventually she began shaving again, just "to get rid of the issue", and still does.
Roche has a five-year-old daughter, and so I ask if she hopes she will grow up to share Helen's relationship with her own body. Her father, like Helen's, was an engineer - he built factories for Mars in Germany - and her parents divorced when she was five. "Like all children of divorce," her poignant prologue reads, "I want to see my parents back together." She made them both promise not to read the book, and has since wondered whether subconsciously it was the protagonist's preoccupation with divorce she wanted to protect them from. Let’s face it; who of us hasn’t checked the tissue after a sneeze, peered into the toilet bowl, picked at a scab to see what was underneath?
She has a quick, dirty mind, yet somehow or other she seems oddly naïve and very sweet. As soon as she turned 18, she had herself sterilized. She wants to stay in the hospital because she hopes her divorced parents will accidentally visit at the same time and magically recognize they still love each other. The novel's basic premise is that Helen has had sex, feels great about that, and is generally at home and easy with human fluids in a way that the rest of us are not.
Feuchtgebiete, which translates as Wetlands, or Moist Patches, is the debut novel from Charlotte Roche. As it opens, we find 18-year-old narrator Helen Memel in hospital, after an accident shaving her intimate parts. The remainder of the book plays out entirely on the proctology ward where, in between ruminating on her haemorrhoids and sexual proclivities, Helen asks her male nurse to photograph her wound, tries to seduce him, and hides under her bed to masturbate. She has an insatiable, childlike curiosity about the sight and smell and taste of bodies, especially her own. Hygiene, she reflects, "is not a major concern of mine".
Get our big stories about Hollywood, film, television, music, arts, culture and more right in your inbox as soon as they publish. I find Roche's brand of bloody-minded emotional openness inspiring. If women's liberation means freeing us to be more truly ourselves, we should celebrate a writer like Roche, whose voice is defiantly, shamelessly her own.
Set in an anonymous German city, Wetlands is told by 18-year-old Helen Memel, a schoolgirl who spends some days in the proctological ward of a hospital to be treated for an anal fissure caused by the careless shaving of her anal hair. Deep at heart Helen is lonely and bored, and has been so since the breakup of her parents' marriage. Her secret plan is to reunite her father and mother by having them visit her at the same time. However, her parents seem to have little interest in their daughter's well-being and show up only occasionally, only for short periods of time, and at different hours. When she learns that her surgery, which included the removal of haemorrhoids, has been successful and she is going to be released soon, she desperately looks for means to prolong her hospital stay.
When she uses public toilets, she likes to rub her vagina around the lavatory seat, and she has experimented with "long periods of not washing my pussy", to investigate its erotic impact - dabbing her own personal pubic perfume behind her earlobes. "It works wonders from the moment you greet someone with a kiss on each cheek." There is a lot of talk about this novel being a manifesto on the female body and sexuality, an updated and 21st century “Fear of Flying.” Helen is open and adventurous and willing to explore any new avenue -- so to speak -- and she revels in her desire and need for gratification. Certainly, she has no fear of discussing her body and asking for what she wants. There is nothing coy or cute about her, not with the men and women she hooks up with, or the doctors and nurses she deals with during her hospital stay.
Wetlands opens in a hospital room after an intimate shaving accident. It gives a detailed topography of Helen's hemorrhoids, continues into the subject of anal intercourse and only gains momentum from there, eventually reaching avocado pits as objects of female sexual satisfaction and – here is where the debate kicks in – just possibly female empowerment. Clearly the novel has struck a nerve, catching a wave of popular interest in renewing the debate over women's roles and image in society.
Helen chooses to see her much duller father as utterly blameless - apart from the way he used to administer sun cream, leaving white question marks on her sunburnt back every summer. In quieter moments she tends her avocado garden, which she forced her mother to transport to the hospital. A row of avocado pits stand sentinel to our heroine's antics and, apart from being used occasionally as dildos, strike a quiet, restrained note in contrast to Helen's feverish mixture of horniness, confusion, indignation and bloody-minded good cheer. Recently someone in the audience at a reading suggested that perhaps the war isn’t over after all, that the Allies were merely concentrating on getting their offspring to write porno propaganda to confuse the German people. Me flying over Germany, throwing sex bombs into people’s minds.
Providers are not able to remove or modify reviews on their own. Reviews can only be removed after an internal review by our customer service team. Generally, Wetlands touches upon a number of taboo topics not only in the sexual arena but also those that can be found in the society at large, particularly in dysfunctional families.
Wetlands (Feuchtgebiete): Locarno Review - Hollywood Reporter
Wetlands (Feuchtgebiete): Locarno Review.
Posted: Wed, 14 Aug 2013 07:00:00 GMT [source]
Surrounded by surgical instruments and humming X-ray machines, she reflects in ever more uncomfortable detail on the eccentric wonders of the female body. It’s an explicit novel, often shockingly so, but also a surprisingly accomplished literary work, which evokes the voice of J.D. Salinger’s The Catcher in the Rye, the perversion of J.G. Ballard’s Crash and the feminist agenda of Germaine Greer’s The Female Eunuch.
Most patients would subside into misery and humiliation afterwards, desperately awaiting release - either from "the ass ward" or from life itself. But Helen, despite a fear of never having a working sphincter again, embarks on an amorous pursuit of one of the nurses, and a campaign to spread her blood, germs and pee throughout the hospital. In drips and oozes, her real story emerges. She is the completely neglected child of two repressed and depressed people. She doesn’t know what her father does for work. She has memories she does not trust and a recurring vision of an event that could not have occurred.
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