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This review is from: The Slap (Paperback)
If Christos Tsiolkas had wanted to name his novel after its most prominent moment or topic, then he should have called it `unpleasant people having repetitive, unpleasant sex' rather than 'The Slap'. The novel's titular event is barely a footnote to the plot, and Tsiolkas seems morally afraid to engage with the issue on any significant plane: 'The Slap' is neither emotionally nor intellectually demanding and offers no insight into the ethical conundrum posed by its blurb.
At a BBQ in Melbourne, Australia, a four-year-old boy named Hugo is acting every bit the insufferable, entitled, disruptive and unpleasant infant his parents have brought him up to be. In an effort to calm the rowdy and precocious boy, a man who isn't his father slaps him in front of the entire gathering.
The domestic corporal punishment of children is a contentious issue; even more so when the chastisement is delivered by a non-parent. In some countries (not Australia) it's completely illegal, and in most parts of the world the concept is associated with a niche of old-fashioned parenting, perhaps synonymous with the traditionalist right.
Child slapping has also received an unprecedented amount of media attention in recent years; it's an issue about which everybody has an opinion - even if you've not been a parent, then you've been a child - making it perfect fodder for the popular novel. Perhaps this universal interest accounts for the novel's ridiculous sales record; it's currently the best-selling book of the 2010 Booker Prize longlist, and according to some sources, it's sold a staggering 5000% more copies than its closest competitor, Room by Emma Donoghue. These sales figures can probably be attributed to the book's provocative subject matter; but if you were feeling particularly cynical, you could argue that 'The Slap' has sold so well because it's the only paperback on the Booker longlist.
The narrative is divided into eight very long chapters, each told from the perspective of a different witness to the slap. The first thing I noticed was the ethnic and cultural diversity of the cast of characters at this neighbourhood barbecue. The entire social rainbow is represented in 'The Slap', and the novel's dramatis personae reads like the fantasy guest-list of an equal opportunities officer: there's an Indian-Australian, Greek-Australian, Aboriginal-Australian, naturalized white Australians, a black Muslim, a Catholic, a Hindi and an atheist; young, old, gay, straight, single, married and divorced; with careers ranging from the unemployed to car mechanics, doctors, vets, writers, actors, waitresses, shop-keepers and carpenters. I'm not saying that such a sundry group of tight-knit friends doesn't or couldn't exist (if anything, I admit that `realism' is an elastic and ambivalent critical term), but the cast smacks of misguided political correctness.
Concordantly, the social and economic diversity of the characters exposes Tsiolkas' laziness as a writer; he resorts to the most basic exploitation of social conflicts in order to create dramatic tension. It's indolent, lacks depth and is border-line offensive in its reductiveness.
However, despite their differing cultural heritages, the characters in The Slap all share the same, uniform personality. It's a psychological homunculus applied to every single protagonist. They are all (without exception); adulterous, quick to anger, violent, vain, profane, selfish and judgemental. The eight characters that the novel follows may as well all be the same person. They're not presented as anti-heroes, nor are they unpleasant in an appealing or curiously attractive way; they're just horrible, horrible people, and I thank God that Tsiolkas' vision of society isn't at all close to reality.
Supposedly, each chapter gives us a different viewpoint on the slapping of Hugo. I was hoping that, as the novel progressed, a complex discourse would develop; one that analyses the various moral and social implications of hitting children. But in truth, Tsiolkas has absolutely nothing to say on the matter; nothing in The Slap is enlightening, contentious, creative or insightful. The fall-out from the titular event lasts no more than fifty pages, and the writer doesn't contribute anything of interest to the debate. Only the two simplest of viewpoints are implicit in the narrative, and these the most garishly polar of the debate: `The kid deserved it' versus `nobody should hit a child'. What's more frustrating is that Tsiolkas refuses to express any kind of authorial opinion - lest he alienate a percentage of his potential readership, I imagine. The book is reluctant to fall down on either side of the child-slapping debate and thus lacks any argument or imperative whatsoever.
The prose can be defined by two stylistic idiosyncrasies: firstly, there's a constant use of expletives and secondly, an obsession with gratuitous sex.
I wish I could say the language was witty or shocking, but it's merely tedious in its verbose repetition. Every page of the book drips with profanity rather than insight; it seems that Tsiolkas can only articulate his characters' emotions with expletives; from happiness to sadness, everything is described in four-letter words. To say the novel suffers from a lack of linguistic breadth would be an understatement. Maybe this is how the average Australian speaks (which I doubt), but after 500 pages of it, I just had to let the pointlessly crude language wash over me, meaninglessly - surely this is not a good thing?
I found the novel's sex scenes to be equally pointless. I don't consider myself a prude, or squeamish, but the sheer amount of gratuitous sexual imagery in The Slap acts as nothing more than distracting filler. At times I was confused as to whether I was reading an attempt at literature, or soft-porn. Generally speaking, I discourage sex scenes in novels; unless they develop a plot, comment on themes or are in some way vital to character development, then I find them irrelevant. The language and imagery used to evoke sex in The Slap is cliché-riddled, ineloquent and unintentionally farcical. I don't want to see the characters having sex for the same reasons that I don't want to see Elizabeth Bennet slowly eating breakfast, or Jack Bauer voiding his bowels - it tells me nothing, it means nothing; I feel nothing.
Parts of the novel are also frustratingly difficult to read. There's a frequent confusion of pronouns, for example:
"Hector told Harry that he was in trouble."
The meaning of this sentence is ambiguous; is it Hector that's in trouble, or is it Harry? It isn't clear from the context and while I could forgive such a misguided construction if it were a one-off, this type of grammatical error is alarmingly common-place. Similarly, the second-half of the novel is riddled with typing and page-setting errors, take the following three examples:
`Brutal' she head [sic] her aunt say, `it's just brutal'.
`I'm going to put then [sic] kids to bed'
`Harry shouldn't have het [sic] that child.'
It's as if Tsiolkas' editors got bored half-way through the book (who can blame them?), and decided to give up. I find such a proliferation of typos in a printed novel to be utterly inexcusable and a detriment to the veracity of the medium.
'The Slap' is a complete failure; a book that promises so much but delivers so little. Supposedly, it's a heated and controversial novel about a much-debated moral issue; in reality The Slap makes no contribution to the child-slapping discussion. It offers no original insights or ethical commentary, and doesn't even do a good job of couching the debate in terms of its pros and cons. The actual event, `the slapping', is over in an instant and is soon forgotten about in favour of long, gratuitous sex-scenes and uninteresting personal disputes. I'm sure that the novel's ostensible subject matter will make it popular with a certain type of coffee-morning book group; but I'm also confident that, like me, most readers will be disappointed by the novel's refusal to engage with the issues at hand.
I cannot fathom why the Booker Prize judges saw fit to nominate this novel to their longlist. Don't read it. And if you happen to see Christos Tsiolkas walking down the street, feel-free to give him a much-deserved and well earned slap across the face.
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Showing 1-10 of 140 posts in this discussion
Initial post: 31 Aug 2010 12:58:59 BDT
Last edited by the author on 31 Aug 2010 13:01:36 BDT
Mrs. A. Brockway says:
I completely agree with TOM CAT, Dreadful book , all the author wishes to do is to talk about sex or find a reason why four letter words should be used. I too am not a prude,but it really is like reading a porn novel.! Far too many different characters to cope with from every type of Australian that could possibly live in Australia, huge confusian The title of the book encouraged me to buy the book as I thought this would be a good topic to understand how different people would feel about the consequences of hitting out at someone else's child and to put it into a novel would be great,! how terribly disapointed I was. I am going to give this book away, I feel almost too embarressed to read it and couldn't possibly pass it on to a friend or even my book club!
Posted on 2 Sep 2010 00:13:46 BDT
Excellent review which I will probably plagiarise when book is discussed at my book club.
In reply to an earlier post on 2 Sep 2010 09:38:06 BDT
Thank you caitlin; you've made my day; especially as I've had some less-than favourable comments on some of my other reviews. Feel free to plagiarise my review; I've not said anything that other reviewers haven't already expressed more eloquently before me.
In reply to an earlier post on 7 Sep 2010 13:36:35 BDT
Siobhan Mc Carthy says:
Caitlin I was just thinking the same thing myself!
Posted on 8 Sep 2010 23:34:41 BDT
Paula Bishop says:
Totally agree! I picked this book up in Waterstones as it was on a special at the till - it was the manager's recommendation of the week! I then lugged it to Crete, via Paris, Venice and Athens - stuck with it and left it there! Life's too short to pass that one on ... I'm usually fairly open minded and let my kids read what they chose but I couldn't see the point in letting them in on this story limited swearathon so it's not gracing our bookshelves.
Posted on 13 Sep 2010 17:21:15 BDT
Miss G. R. Modood says:
I couldn't agree more. I too felt that all eight characters shared the same crass voice and personality. I got to the second half of the last chapter and just couldn't bear the monotone narrative and endless sex anymore and so gave up with only fifty pages left to read. Fantastic review TomCat.
Posted on 15 Sep 2010 10:57:45 BDT
The Grenouille says:
I don't normally read long reviews but this one caught my attention and rang all the right alarm bells. So i'll pack my wallet back and go and buy Room instead....
Posted on 22 Sep 2010 16:03:19 BDT
This is a wonderfull virulent review. I understand your irritation, but isn't it just the case that this is pulp masquerading as literary fiction and the author has been over-hyped?
In reply to an earlier post on 22 Sep 2010 22:33:46 BDT
I tend not to hold any notions of what is 'pulp' and what is 'literary'. In my experience, the best writing can often come from the most unlikely of sources; so I judge everything by the same standards. I'm not going to 'go easy' on The Slap purely because it might not be 'intended' to be good writing.
In reply to an earlier post on 24 Sep 2010 11:45:55 BDT
Mrs. A. Brockway says:
I entirely agree with your comments.It seems nowadays that the more pulp and sexual explists used with really revolting words , the more this is classed as great literature! I believe that the people that read this sort of fiction believe that they are being in a way 'high brow' if only they realised how stupid they are really!!