Kinky, offbeat, and playful, Sarahland is a madcap story collection. Most of the stories focus on queer Jewish young women who are named or rename themselves Sarah. Their quest for identity and love leads them astray from traditional notions of femininity and adulthood. They become entangled in parasitic relationships, lose and regain their sense of self, use fanfiction to cope with heartbreak and alienation, indulge in their fetishes, and decide to become trees in order to transcend their human bodies.
These narratives are smutty, experimental, and surreal. The characters are fluent in internet-speak and fandom culture, they blur the lines between fantasy and reality, use films/tv shows/musicians as a way of exploring their identities or to reflect on their relationships.
In the first story, which is aptly named ‘Sarahland’, we follow a Sarah who is a university student in an all Jewish dorm. She has become part of a clique of Sarahs, with Sarah A. and Sarah B., and the three function almost as a multi-conscious entity (which of course brought to mind Mona Awad’s Bunny). Cohen’s take on the Jewish American Princess in this story, while not particularly subversive, is playful and self-aware. The story shows how our Sarah is forced into adopting a lifestyle she doesn’t particularly care for, but breaking away from it isn’t an easy process. In the second, ‘Naked Furniture’, we have a Sarah who begins working at a brothel, where she finds contentment by being spanked or by playing dead for a client with a necrophiliac streak. She begins to have sex with another girl from the brothel and the two engage in some kinky slightly-fucked-up shit (baby play). In the third story, ‘Exorcising, Or Eating My Twin’, a Sarah comes across her ‘twin’ which she renames Tegan in honour of Tegan & Sarah. But as time goes by Tegan doesn’t seem keen on sharing an identity/life with Sarah. Later in the collection, we get a Bible retelling of Sarah’s story (Abraham wife/sister) where Cohen juxtaposes a historical setting with modern colloquialism.
After the first couple of stories, these narratives did tend to blur together as they all revolved around Sarahs with the same type of personality. They are alternative, obsessive, and clingy. They are not thin or straight. Their attempts at counterculture were a bit…so what?
I don’t know but the more stories I read the less entertaining I found Cohen’s style. Her treacly prose, which brought to mind authors like Awad, is best handled in small doses, otherwise, its stickiness feels sickening almost. At the end of the day, the collection seemed more about sex and not much else. While the Sarahs’ narratives are laced with a ribald sense of humor, Cohen is not quite in the same league as Ottessa Moshfegh or Jen Beagin. There were certain descriptions (such as labia=snails…), scenes, and elements that tried too hard to be ‘subversive’ and ‘zany’. Out of the 10 stories we get I actually only ended up liking the first one, the rest were all flash and no substance. The humor too was very hit or miss for me (many of ‘ah-ah’ moments relied on the use of the word patriarchy or ‘cis white male’ jokes which were not particularly original).
Still, if you are a fan of Awad or Melissa Broder you might find Sarahland to be a more satisfying collection than I did. While to begin with I appreciated how weird and campy these stories were ultimately too samey. Cohen is nonetheless a promising writer and I look forward to reading her future works.
my rating: ★★★