Recognised as a highly anticipated event, a fresh book by Sally Rooney is always buzzworthy due to the unprecedented popularity of her previous works, most notably Normal People, and the television adaptations of both it and her inaugural novel, Conversations with Friends. Her fourth work, Intermezzo, released by Faber & Faber this Tuesday, has already received numerous noteworthy reviews.
The verdict from the critics
Depicting sexual scenes is an endeavour laced with risk as the threat of ridicule always lurks in the background. One of Rooney’s main accomplishments in her most recent novel is her artful portrayal of physical passion, achieved with discretion and warmth, but devoid of indulging in blurred sentimentalism. Rooney excels in creating dialogues wherein her characters meticulously dissect every angle of their situation. This audacious, entrancing and riveting novel is an important augmentation to her constantly impressive repertoire of works. – Michael Cronin
Readers perplexed by the seemingly aimless wanderings of her previous novel, Beautiful World, Where Are You, will find comfort in the familiar territory of Intermezzo; a narrative focussed on the complex subtleties of interpersonal relations like her earlier works, Normal People and Conversations with Friends. The swift momentum and tight structure that marked Rooney’s initial two novels are notable. Despite being larger in scope and more loosely structured, Intermezzo nevertheless exudes a sense of gravity associated with significant literary works. Its main downfall, however, is that its characters may not be engaging enough to justify its serious tone. – Houman Barekat, Sunday Independent
Upon completing my reading, I contemplated: how might it feel to clutch a book with a soul within? I believed this to be the case and felt a sense of transformation, yet simultaneously constant, akin to immersing oneself in the works of Larkin or Tolstoy. As I lost myself in the pages of Intermezzo, I dove deeper into life’s nuances, tuning into the rhythmic buzz of joys, sorrows, concerns and sensual enticements – a recognition subtle till now. Profound literature has this capability. Readers returning to Conversations with Friends, Normal People and Beautiful World in succession will notice the progression towards this objective, with each novel displaying a growing certainty, increased unreserve in its pursuit. Eventually, we witness Sally Rooney harnessing her abilities to their full extent: to observe the world meticulously, recognise love in all its multifaceted layers therein, and share these revelations unfeignedly with others. – Jo Hamya, The Independent.
Intermezzo is a novel of sharp discernment, and at 437 pages, it does not seem overly lengthy. The philosophical integrity underlying the novel does not obstruct its embodiment in human cognition; in fact, it necessitates embodiness. Not often do I say this, but Rooney’s portrayal of longing and intimacy is remarkable – not particularly erotic, but rather intricate, conflicted, apprehensive and reticent. Moreover, endorsing such a novel wholeheartedly and acknowledging its unique capabilities within its genre brings forth a somewhat exhilarating feeling. – Stuart Kelly, The Scotsman.
Sally Rooney’s fourth novel may not quite be her greatest, nor destined for the most affection. But even if Intermezzo isn’t Rooney’s most gripping creation, it certainly constitutes her most substantial. The voluminous nature of the novel – her premier work to cross the 400-page threshold – indicates that it deviates from her typical lean vessels of erotic tension that rocketed her to fame. While Intermezzo may not possess the pronounced confidence of Conversations with Friends (2017) or Normal People (2018), it’s a determined, commendable and not entirely unsuccessful endeavour to transcend them, even venturing a good length away from her usual forte.
Rooney demonstrated a determined endeavour to delve deeper into her narrative with Intermezzo, a departure sufficiently bold that it initially surfaced symptoms of self-awareness. However, owing to her commitment and adeptness, these reservations were overcome. The benefits granted by her significant achievements, including the flexibility to be slightly less spectacular, were effectively utilised – as Lola Seaton noted in New Statesman.
Rooney’s character development is marked by a distinctive trait that sometimes serves as an advantage and occasionally as a setback – her predilection for sharp intellect. Despite occasionally overshadowing the storyline, this keen insight lends Intermezzo form, consistency, and an underpinning ideology. The contrasting perspectives, narrative centricity, and powerful prose style contribute to the overwhelming impact of the fictional occurrences. Despite the sorrow, misunderstandings, and missteps the characters grapple with as they seek clarity on their emotions, their capacity for love never fades into obscurity, highlighted Cal Revely-Calder from The Telegraph. Rooney’s work is possibly underpinned by a fundamental principle: solitude doesn’t define us completely. For some, this might sound like a cliché, whereas, for others, it could be a life-affirming insight.
Financial Times’ Shahidha Bari spoke highly of Intermezzo positioning it in the same league as her earlier impressive works – Rooney’s debut ‘Conversations with Friends’ and her subsequent 2018 piece, ‘Normal People’. It proffers characterisations painted with literary pointillism, resonating inward complexities that seem strikingly authentic. Intermezzo sees Rooney’s typically streamlined style intertwining with more abstract elements – a harmonious blend of internal monologue and external dialogue, oscillating between sensation, citation, and conversation, shaping an immersive portrayal of an interior life.
Definitely her most poignant and advanced novel yet, Rooney’s latest work signals a shift in the author’s style, transitioning from dialogue-focused romances to intricately woven stories about broken families and exploration of non-traditional relationships. The ending leaves one teary-eyed and emotionally invested. The introspection aspect advances the narration as Rooney expertly captures her characters’ self realisations, thereby improving her work significantly. -Johanna Thomas-Corr, The Sunday Times
While Intermezzo’s protagonists grapple with ethical dilemmas, their issues can sometimes feel overly analysed across the expansive 400+ page narrative. Despite this, Rooney’s trademark understated humor and sensitivity to contemporary speech permeate her style. Even though her previous books saw her successfully satirise her characters’ sincerity, Intermezzo seems overly supportive of their pretences. Nevertheless, the novel is sprinkled with Rooney’s uncanny insights into human emotion and behavior. Even potentially flat characters come alive through her vivid descriptions and dialogue. -James Marriott, The Times
Renowned author Sally Rooney recently engaged in a conversation at the prestigious National Concert Hall. A large number of attendees were spotted carrying bookstore-branded tote bags. Dressed in a simple grey ensemble, she took to the stage, her experience from Trinity’s debate society shining through. Her moving speech in Irish was met with resounding applause, the author visibly moved, taking in the cheers with her hand over her heart.
Rooney, prior to reading from the debut chapter of her latest novel ‘Intermezzo’ in Dublin, paused to discuss the wider narrative surrounding our collective gathering there. The reading was lively and compelling.
Eventually, the conversation shifted to her remarkable skill in drafting intimate scenes, a task that often yields cliché and stilted prose in literary works. This comment provoked a slight uneasiness in Rooney, but she insisted on giving a thorough answer. She joked about sparing herself embarrassment by simply writing, “Afterwards comma,”, which drew hearty laughter from the audience. However, for her characters to leap off the page, she admitted she sometimes must “go with them.” This is essential for readers to grasp why the characters are attracted to each other and the significance of desire in these instances.
When an audience member asked how she retains authenticity in her writing whilst managing reader expectations, Rooney confessed to being “touched” by the willingness of readers to “come with me”. Concerns about public reception to her work generally come to her late in the process, often when she’s at a live event prior to the book’s release, she disclosed, causing laughter throughout the venue.
As the evening drew to a close, varied aspects of Rooney’s craft, ranging from the art of novel writing to the dynamics of language and power in relationships, were scrutinised. She and O’Toole also delved into the impact of housing insecurity, a running theme in ‘Intermezzo’. Rooney stated that it mirrors the realities of her characters, but her writing isn’t designed to push ideological assertions. As a Marxist, she emphasised the importance of her beliefs featuring in her work without imposing them onto others. Concerning ‘Intermezzo’, she espoused that it “comes down on the side of life, of living,” and if she could convey this feeling to even one reader, it would all have been worth it, she affirmed.