
From the outset of the novel it
is clear that, whilst the setting is post-apocalyptic, Watkins is more
concerned with exploring the frontiers of the heart than the desert frontier
that her characters find themselves in. There is a surprising lack of
world-building in the first part of the novel and, at first, I did find myself
struggling to understand what was going in. Watkins throws terminology (Mojave,
Amargosa, Raindance) around without ever really explaining it and, at first, I
felt bombarded with words and situations without anything to ground me in the
world of the novel. It also doesn’t help that, at the start of the book at
least, Ray and Luz are also frustratingly bland characters, their sole purposes
in life to be needed and to be needy respectively.
Get over the first third of the
book however and ‘Gold Fame Citrus’ really takes flight. From the discovery of
Levi - a prophet-like dowser - and his camp of followers who roam across the
desert, moving with the rhythms of the Dune Sea; the novel turns into an
examination of the myths that we tell about ourselves and others, the fiercely
selfish things that we will do to survive and the ways in which the will to
survive leads both the needed and the needy to exploit those around them. Luz
in particular, develops enormously as a character as we see her struggle (not
always successfully) to develop her own place in the world, one in which she is
no longer simply a dependant of those around her. Levi is also an interesting
character, both charming and sinister all at once and it is easy to see how he
has gathered followers around him, with his romantic tales of the Amargosa and
the life it contains.
Watkins’ writing throughout ‘Gold
Fame Citrus’ is undoubtedly literary. Her prose is often bare, even verging at
times on the vulgar (if you’re not a fan of the f-bomb, the c-bomb and purple
prose sex scenes, this might not be the book for you), but for the most part it
is effective in conveying her meaning and themes. Sex features prominently in
the book for example, and Watkins’ doesn’t hold back in her portrayal of this,
but it is always used cleverly as a way for characters to connect with each other
in ways they cannot seem to reach though words. It serves a purpose, and it’s
often not a romantic one, and is very skilfully done. Unfortunately, other
passages do not work quite as well. There are many lists – whole paragraphs or
pages where a character is reciting everything they can see or can remember –
and this gets terribly dull after a while. And sometimes you can’t help but
wish that Watkins would just use a simple word instead of regurgitating a
dictionary.
Ultimately ‘Gold Fame Citrus’
was a really mixed bag for me. If I hadn’t been reading for review, I doubt
whether I would have made it past the first 100 pages, which I really don’t
think work as an opening; but I did very much enjoy the latter stages of the
book when it became apparent what Watkins was doing with her characters, her
world and her overarching themes. Luz and Ray aren’t likeable protagonists but
they become very human, especially Luz, and it is worth sticking with them and
becomes very interesting to watch them both develop in unexpected ways. And
whilst the language and style didn’t always work for me, Watkins can clearly write,
and write extremely well. I’d certainly read more from her in the future, even
if ‘Gold Fame Citrus’ wasn’t for me, an unmitigated success.
‘Gold Fame Citrus’ by Claire Vaye Watkins is published by Quercus and
is available now in hardback from all good booksellers and libraries. My thanks
go to the publisher and to the Real Readers scheme for supplying me with a copy
of the novel in return for an unbiased review.
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