Kate grows up poor, in rural New Zealand, with her unconventional mother, who she adores. To supplement the household income, Kate and her best (and only) friend Lacey start giving kissing lessons at school, and then go to work in the local strip club once they’re old enough.
In her early twenties, running from tragedy, Kate crosses the ocean and lands in Las Vegas to work at a legal brothel, The Hop, under the moniker of Lady Lane – the stripper name she picked with Lacey as a kid, the name of her first pet plus the street she grew up on. She’s tall and thin and white and blonde, and ruffles some feathers when she arrives. The other women working there – trans women, women of colour, older women – know that their pimp, Daddy, has hit the jackpot.
The portrayal of sex work in this book is like nothing I’ve ever read in fiction. It’s not all roses – like any other job, there are good days and bad days – but it’s empowering, and energizing, and it makes Kate feel good. The bunnies at The Hop come from all walks of life, but they are all there by choice. It’s something that society struggles to accept.
‘They want there to be another reason, something deeper, they want to hear that you were unloved as a child or that you were abused as a teen…As if money isn’t enough of a reason to do anything. As if staying alive isn’t enough of an answer.’
The prevailing narrative where sex work is concerned is grittiness, trauma, poverty, tragedy – but this book is nuanced and fiercely feminist. It brims with energy, even as it confronts challenging and harrowing truths. For the women at The Hop, working in a legal brothel presents the only safe option to pursue their profession, with sex workers on the street being murdered, assaulted and attacked on a daily basis.
I loved the structure of this novel. I was daunted at first by the prospect of it flitting between so many voices – it’s a risky move. While Kate’s first-person narrative dominates the story, we hear too from best friend Lacey, pimp Daddy, Bunnies Betty, Mia, Dakota, Rain, the Vogue features editor who’s writing a piece on Kate, a celebrity lookalike of Kate, Willa Jordan… but you know what? It works. The characters are so vivid that it unfolds almost like a play or a documentary, building up a richer picture of the story and context without distracting from the narrative trajectory.
‘”Does it look like I’ve sold my body?” I said, “I’ve had guests who have served in the military and lost their legs. I’ve had guests who sleeved their arms in factories. I’ve had guests whose bodies are failing them, who’ve had to opt out of surgery because of America’s health care system. Does it look like I’ve sold my body?”
It’s propulsive and refreshing and funny, too.
‘It happened soon enough after the #metoo movement … for Lady’s video to become big news. The debate over what constituted assault was at its climax, darling, and not the good kind. Walmart changed their name to #WalmartToo for the month, which was a lot to unpack. Facebook changed their logo to teal, the color of, I guess, sexual assault? Thank god for the conglomerates, darling. Saving the world once hashtag at a time.’
This book sucked me in the same way as Diana Clarke’s first novel, Thin Girls. I wasn’t sure at first, but once the narrative picked up steam I was completely hooked, and sad to part with the characters when it ended. Highly recommended, and I can’t wait to see what Diana Clarke does next.
With thanks to HarperCollins via Edelweiss for the advanced copy. The Hop will be published on 7th June 2022.
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