My bookshelves tell the story. Overwhelmingly, my taste runs to history. After that, there is a fair-sized collection of classic fiction, most of it read for vanity when I was younger. There is a smattering of contemporary fiction, usually a book that is so prevalent in the zeitgeist that failure to read it would mark me as hopelessly out of touch. Alas, lately, I’ve definitely become more comfortable being hopelessly out of touch.
So how do I explain Alissa Nutting’s Tampa? This slim novel tells the story of a beautiful young eighth-grade teacher who repeatedly statutorily rapes one of her students. It’s not history. It’s definitely not a classic. And I don’t think it ever took the pop culture world by storm. Yet it ended up in my hands, and I read it, cover to cover.
The answer, I’m sure you’re muttering to yourself, is simple. Matt is a pervert. You have some justification for this. I did, after all, read and review Richard Rhodes’s Making Love: An Erotic Odyssey and My Secret Life, a Victorian-era sex memoir.
But I’d like to think that this isn’t the sole reason. I like to think I just needed to see what the fuss was about. It’s a bit of literary rubbernecking. I wanted to know: Could this really be as controversial as the Harper-Collins marketing department wanted me to believe?
Certainly, this is as graphic as advertised. It seems, in fact, meticulously designed to shock you on every page. Perhaps this transparently premeditated aim to astonish and alarm is the reason I had such a neutral meh reaction. I saw exactly what Nutting was trying to do, and once the workings of the machinery came clear, it no longer had any effect. I expected to love this book or hate this book (frankly, I was leaning toward hate) when I started. Turns out it was something more disappointing. An average read.
The focus of Tampa undoubtedly grabs your attention. Its subject-matter is both legally and culturally taboo, and it deals with that subject with all the subtlety of someone smacking you across the face with a Nabokov hardbound.
Tampa is told in the first-person, by predatory teacher Celeste. She is Nutting’s most provocative act. A monstrous, mono-focused creature whose sole earthly purpose is to bed fourteen year-old boys. Everything else in her life is an impediment, including her husband Ford, a police officer with family money. Her entire day is spent plotting seductions and fantasizing about adolescents. She apparently doesn’t have any other interests or hobbies. Celeste is driven purely by lust. She is not in love with her conquests. To the contrary, she intends to dispose of them as soon as they grow out of the narrow developmental level she requires to satiate herself.
In short, Celeste is a sociopath. She is glibly superficial, a compulsive liar, imbued with entitlement, always requiring stimulation, and incapable of deep emotional feeling. She is so pathological that she seems to have sprung fully-formed from the pages of the Diagnostic and Statistical Manual.
I’ve seen Celeste compared to Patrick Bateman, and there is a resemblance. If you like Brett Easton Ellis, maybe this will fit you better than it fit me. I don’t find sociopaths engaging as literary protagonists. It’s not a question of likeability. Instead, it’s a question of care-ability, as in, I can’t invest any emotion in a character that doesn’t have emotion. Celeste is such an empty-souled husk of a human that her fate is almost irrelevant. What do I care if she gets imprisoned or gets away or gets run over by a bus?
Since I brought up likeability, it bears mentioning that she is not likeable. Celeste is hateful and manipulative but not terribly interesting. Obviously, we’re not supposed to like an repentant pedophile. But Celeste is so awful that her adolescent-directed lust is almost the least of her flaws.
No one in this book is a fully-realized person, least of all Celeste. A super-hot teacher who drives a Corvette and only desires sex with nerdy boys? Not to be blunt, but Celeste doesn’t feel like a character drawn by an adult. Instead, she comes across as the masturbatory fantasy of an awkward eighth-grader writing terrible erotica while desperately waiting for an invitation to the junior high mixer that will never come.
The other characters are mostly names without defined existences. This makes a certain amount of sense, since Celeste certainly doesn’t care about anyone else. In Celeste’s world, there is only Celeste and her fiercely raging nether-regions.
Tampa lives and dies on its outrageousness. The ace up Nutting’s sleeve is her willingness to luridly describe the sexual encounters between Celeste and her victim, a fourteen year-old named Jack Patrick. The sex is graphic. Like, really, really graphic. The phrase “forensic in nature” comes immediately to mind. No “fire of my loins” here. This is a novel that eschews euphemisms for the clinical precision of “penis” and “labia.” Even though I read My Secret Life, in which the narrator spends an entire chapter standing beneath an outhouse to be urinated upon, the initial sex scene between Celeste and Jack took me aback. She went there, I thought to myself. She really went there.
The problem for Nutting, though, is that this is a trick that can only be played once. After the first time, there are many more scenes of explicit trysts. Nutting has already gone big, so she has to keep upping the ante, rolling through a heroic litany of lascivious acts. Very quickly – as in, almost instantly – these scenes lose their impact. They become – if this word is appropriate for pedophiliac descriptions – boring.
(The amount of sex she has, in the places where she has it, is increasingly ludicrous. Nutting’s Tampa is a place where no one ever asks a follow up question).
As I read, I often stopped to ponder Nutting’s motive. There is definitely an element of black comedy. The humor does not come from any wit or nuance, but in Celeste’s escalating behaviors. If you can totally suspend your disbelief, some of her crazy and outlandish efforts to keep her affairs secret are mildly amusing.
Tampa is so inwardly focused on Celeste that it’s hard to characterize it as a satire. Unless it is a satire of sex offenders. There are directions this could have gone. There is definitely a point to be made about how differently we treat male verses female offenders. (I find it impossible to believe that Tampa could have been published if the gender roles of the protagonists were switched). There is also the hypocrisy of media coverage (and our complicity in viewing it), which simultaneously scolds and titillates. Nutting makes feints in these directions, but never develops either as a theme. Instead, she doubles down on the hardcore sex, then triples down, and so forth.
This is a book that mistakes detail for substance. We get all the mechanics of teacher-student sex spelled out very clearly. The other stuff, the grooming behaviors of sex offenders, the dark reality of forbidden desire, the uncomfortable notion of love before the age of consent, is entirely absent and unexplored. That might have been transgressive. That might have been interesting.
Tampa does only one thing very well. Unfortunately, that one thing is to expertly describe sex between a teenager and an adult.