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challenging
tense
slow-paced
Plot or Character Driven:
Character
Strong character development:
No
Loveable characters:
No
Diverse cast of characters:
No
Flaws of characters a main focus:
Yes
I just finished this book and I can't even describe what it was about. This book is written like a stream-of-consciousness from 2 brothers' perspectives after the loss of their father. Ivan is a self-centred, naiive, brutally honest man-child, and Peter is a self-centred, emotionally distant, performative, hypocritical man-child who blames everyone else for his choices & issues and uses people without considering how it affects them. The best part was the ending, because it felt like they were finally experiencing an emotion and recognising some of their own flaws.
Favourite quote:
[Naomi to Peter] "You tell me you love me and then it's alright, goodbye, I never want to see you again. Just so you can delude yourself that you're normal, everything is normal. You're so fucking sick in the head you dont even see what you're doing to yourself. Trying to put everyone in their little box. And if we would all just stay there, then there wouldn't be any problems."
Favourite quote:
[Naomi to Peter] "You tell me you love me and then it's alright, goodbye, I never want to see you again. Just so you can delude yourself that you're normal, everything is normal. You're so fucking sick in the head you dont even see what you're doing to yourself. Trying to put everyone in their little box. And if we would all just stay there, then there wouldn't be any problems."
Content Warnings
Moderate: Alcoholism, Death, Drug abuse, Drug use, Emotional abuse, Mental illness, Misogyny, Sexism, Sexual content, Sexual violence, Suicidal thoughts, Terminal illness, Toxic relationship, Violence, Vomit, Grief, Death of parent, Gaslighting, Alcohol
challenging
dark
emotional
reflective
sad
tense
slow-paced
Plot or Character Driven:
Character
Strong character development:
Yes
Loveable characters:
Complicated
Diverse cast of characters:
No
Flaws of characters a main focus:
Yes
Sally Rooney’s writing style choices feel more extreme and unconventional here. I almost put it back on the library shelf after the first chapter. I would have really missed out. It is a wonderful novel about characters navigating grief (mainly, the death of a parent; but also, the loss the life they almost had; and the loss of a marriage) while struggling between their desires and what society deems appropriate. Each POV felt very distinct to me, and contributed largely to understanding Peter, Ivan and Margaret.
The stream of consciousness writing is unleashed compared to her other work that I’ve read (Normal People). Combining a rationing of paragraph breaks with her consistent boycott on quotation marks, the narrating voice is a distinct experience. There are many sections that are a first hand account of a character experiencing a memory. The details all blurred together but the feelings, especially uncomfortable ones, coming through in sharp pangs. Absolutely anxiety inducing at times, particularly when following Peter in third-person POV.
Let's talk about the characters. Peter. I hate him and also find him the most relatable. I wanted to scream into the void reading about him continuously walk down self-destructive paths. Two eyes wide open, but blinded by grief. Grief exacerbated by anxiety, self-loathing, depression. Completely hypocritical in the judgements he makes of others, but slightly redeemed by judging and hating himself the most. It was always Peter that had me putting down the book to go touch some grass.
Ivan. Intensely awkward but also hyper-aware of social norms as though he has studied them as a non-participant. Ivan is not the only character steadfastly aware of social norms, but does seem the character least concerned with them. Peter, on the other hand, ties himself up in knots according to what is socially accepted. I only recall four scenes where Peter and Ivan directly interact, yet the characters are so intertwined.
Then the women characters. Naomi, Sylvia, Margaret. We only ever see the POV of one, Margaret, but they are all beautifully fleshed out. There are beautiful snapshots of all of them, in different ways, reckoning with how to survive, and attempt to thrive, within patriarchal conditioning, despite being people who lead very dissimilar lives.
This is in the running for my favorite read this year. Rooney did not give me the character events, ending, or number of paragraph breaks that I wanted. If she had, I probably wouldn't have liked it as much.
The stream of consciousness writing is unleashed compared to her other work that I’ve read (Normal People). Combining a rationing of paragraph breaks with her consistent boycott on quotation marks, the narrating voice is a distinct experience. There are many sections that are a first hand account of a character experiencing a memory. The details all blurred together but the feelings, especially uncomfortable ones, coming through in sharp pangs. Absolutely anxiety inducing at times, particularly when following Peter in third-person POV.
Let's talk about the characters. Peter. I hate him and also find him the most relatable. I wanted to scream into the void reading about him continuously walk down self-destructive paths. Two eyes wide open, but blinded by grief. Grief exacerbated by anxiety, self-loathing, depression. Completely hypocritical in the judgements he makes of others, but slightly redeemed by judging and hating himself the most. It was always Peter that had me putting down the book to go touch some grass.
Ivan. Intensely awkward but also hyper-aware of social norms as though he has studied them as a non-participant. Ivan is not the only character steadfastly aware of social norms, but does seem the character least concerned with them. Peter, on the other hand, ties himself up in knots according to what is socially accepted. I only recall four scenes where Peter and Ivan directly interact, yet the characters are so intertwined.
Then the women characters. Naomi, Sylvia, Margaret. We only ever see the POV of one, Margaret, but they are all beautifully fleshed out. There are beautiful snapshots of all of them, in different ways, reckoning with how to survive, and attempt to thrive, within patriarchal conditioning, despite being people who lead very dissimilar lives.
This is in the running for my favorite read this year. Rooney did not give me the character events, ending, or number of paragraph breaks that I wanted. If she had, I probably wouldn't have liked it as much.
Content Warnings
Graphic: Drug abuse, Panic attacks/disorders, Suicidal thoughts, Toxic relationship, Death of parent, Toxic friendship
Moderate: Alcoholism, Sexual content
Minor: Misogyny, Sexual violence
regarding suicidal thoughts one of the main characters makes up their mind to kill themselves and describes a deep sense of relief associated with this decision. suicide does not occur though
I absolutely get why Sally Rooney’s books are so popular. But for me, with the exception of Marianne and Connell, I just don’t care for any of her characters.
Content Warnings
Graphic: Chronic illness, Misogyny, Suicidal thoughts, Toxic relationship, Grief, Death of parent
dark
emotional
reflective
sad
tense
medium-paced
Plot or Character Driven:
Character
Strong character development:
Yes
Loveable characters:
Yes
Diverse cast of characters:
Yes
Flaws of characters a main focus:
Yes
I quite enjoyed this as my first Sally Rooney read.
Right of the bat I was intrigued by the writing craft of the first chapter and really liked meeting the characters. Some of the character angst was a bit strange to me for a reason i can't quite name right now, like the intensity of Peter's hang ups about dating Naomi. I definitely felt there were moments when an unseen foreign spectre of morality was hovering and animating certain conflicts. But I still enjoyed myself for the most part!
Third act kinda fell short compared to the first two, and it was a little saccharine how things turn out but I still felt pretty satisfied as if I'd just finished a season of a television show. Ms.Rooney will see me again.
Third act kinda fell short compared to the first two, and it was a little saccharine how things turn out but I still felt pretty satisfied as if I'd just finished a season of a television show. Ms.Rooney will see me again.
Content Warnings
Moderate: Drug abuse, Misogyny, Suicidal thoughts, Death of parent
emotional
reflective
medium-paced
Plot or Character Driven:
Character
Strong character development:
Yes
Loveable characters:
Complicated
Diverse cast of characters:
No
Flaws of characters a main focus:
Yes
This is embarrassing to admit but before this, I had been actively avoiding any and ALL of Sally Rooney’s works because of her well-known no use of quotation marks + hit or miss writing style and I feel really stupid for that now.
I thought it was absolutely horrendous in Peter’s POV. Genuinely, I was shocked and thought the rest of the book would be that way. In the span of only 16 or so pages, I debated on sending it through the sky or just giving it away. When I got to Ivan’s POV, however, things slowly began to make more sense.
Flawed and realistic characters in a realistic setting, and writing that feels unique and immersive!
I thought it was absolutely horrendous in Peter’s POV. Genuinely, I was shocked and thought the rest of the book would be that way. In the span of only 16 or so pages, I debated on sending it through the sky or just giving it away. When I got to Ivan’s POV, however, things slowly began to make more sense.
Flawed and realistic characters in a realistic setting, and writing that feels unique and immersive!
Content Warnings
Graphic: Sexual content, Suicidal thoughts, Grief, Death of parent
Moderate: Alcoholism, Drug use, Infidelity
Minor: Cancer, Misogyny, Sexism, Violence, Car accident
challenging
emotional
hopeful
reflective
sad
medium-paced
Plot or Character Driven:
Character
Strong character development:
Yes
Loveable characters:
Complicated
Diverse cast of characters:
No
Flaws of characters a main focus:
Yes
Content Warnings
Graphic: Drug use, Misogyny, Suicidal thoughts, Grief, Death of parent, Injury/Injury detail
emotional
reflective
slow-paced
Plot or Character Driven:
Character
Strong character development:
Yes
Loveable characters:
Yes
Diverse cast of characters:
No
Flaws of characters a main focus:
Yes
Content Warnings
Graphic: Infidelity, Misogyny, Grief, Death of parent
Moderate: Alcoholism, Drug abuse
emotional
reflective
relaxing
sad
slow-paced
Plot or Character Driven:
Character
Strong character development:
Complicated
Loveable characters:
Complicated
Diverse cast of characters:
No
Flaws of characters a main focus:
Yes
Content Warnings
Graphic: Chronic illness, Sexual content, Terminal illness, Blood, Vomit, Grief, Alcohol
Moderate: Alcoholism, Cancer, Death, Drug abuse, Drug use, Infidelity, Suicidal thoughts, Toxic relationship, Medical content, Death of parent
Minor: Misogyny, Pandemic/Epidemic
challenging
emotional
reflective
sad
medium-paced
Plot or Character Driven:
Character
Strong character development:
Yes
Loveable characters:
Complicated
Diverse cast of characters:
No
Flaws of characters a main focus:
Yes
Content Warnings
Graphic: Mental illness, Suicidal thoughts, Grief, Death of parent
Moderate: Sexual content, Injury/Injury detail
Minor: Misogyny, Alcohol
emotional
sad
medium-paced
Plot or Character Driven:
Character
Strong character development:
Yes
Loveable characters:
Complicated
Diverse cast of characters:
Complicated
Flaws of characters a main focus:
Yes
“You take conversation too seriously. Life isn’t just talking, you know.”
The novel “Intermezzo” deeply redefines the meaning of vulnerable narrative point of views. Appropriately titled, the work follows characters in waiting, in between chapters—of relationships, of careers, of success, of leaning into what they most need for their lives. Much like many intermezzos I’ve also played musically, there is also a pervading sense of intimate melancholy, forced isolation, whiffs of dreams. We find deep dives into emotions and deep desperation—to be loved, to feel loved, to revisit love, or to reject love with other themes or melodies we think we must embrace.
This book is so well composed, yet my feelings were vacillatingly mixed. I definitely felt biases toward and against various characters in their hypocrisies, but found the varying point of views always intriguing. At times, the vivid intimacy element is haunting, at times painfully awkward, but I appreciate the author’s efforts to construct something human in all shapes of real.
The novel “Intermezzo” deeply redefines the meaning of vulnerable narrative point of views. Appropriately titled, the work follows characters in waiting, in between chapters—of relationships, of careers, of success, of leaning into what they most need for their lives. Much like many intermezzos I’ve also played musically, there is also a pervading sense of intimate melancholy, forced isolation, whiffs of dreams. We find deep dives into emotions and deep desperation—to be loved, to feel loved, to revisit love, or to reject love with other themes or melodies we think we must embrace.
This book is so well composed, yet my feelings were vacillatingly mixed. I definitely felt biases toward and against various characters in their hypocrisies, but found the varying point of views always intriguing. At times, the vivid intimacy element is haunting, at times painfully awkward, but I appreciate the author’s efforts to construct something human in all shapes of real.
Content Warnings
Graphic: Sexual content
Minor: Alcoholism, Cursing, Drug use, Emotional abuse, Infidelity, Mental illness, Misogyny, Suicidal thoughts, Toxic relationship, Violence, Grief, Medical trauma, Outing, Gaslighting, Toxic friendship, Injury/Injury detail