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Most writers tend to repeat certain styles, but these characters aren’t just skinny they’re often hungry. Frances drinks black coffee and has a habit of working through lunch, while Marianne survives the day on “a tangerine and a piece of unbuttered toast.” Over the course of Conversations With Friends, Frances admits that she has a “troubled relationship with her body,” which elicits immediate sympathy. But in Rooney’s world, can a fat or even not-so-thin protagonist suffer in ways that aren’t expressed through growing pettiness? Does a woman’s pain matter if her appetite isn’t diminished and her bones aren’t exposed?

Thinness isn't explicitly painted, but it's pervasive enough to feel like a prerequisite for sexiness. Rooney whose precise economy with words is commendable focuses attention on "[Frances's] taut belly," Marianne's "narrow and delicate" body, and Eileen's "slender, reed-like white arms." (Meanwhile, a female character's thighs in Conversations With Friends are described as "holey with the texture of whipped cream.") Naomi, a 20-something student and occasional sexpot from Intermezzo a more robust, less graceful protagonist whose boyfriend

considers her "a carnivore" gorges on a "family-sized bag of Doritos." But even as she eats, the "smooth bulge" of her prominent ankle bones is noted.

What is Rooney communicating through her repeated descriptions of a particular body type? Rooney's female protagonists are sad, starving, and trembling during sex, while the men react almost fanatically to their small figures and perceived weakness. Normal People's Connell marvels at how Marianne's body "feels so small... and so open" during sex, and Beautiful World's bisexual Felix admits to his lover Alice: "Whenever a girl asks me to open a jam jar, I fall in love with her."

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