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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.”

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.

Then there’s Rooney’s latest novel, Intermezzo, out today. Intermezzo features supporting characters who are “small and fat” and have “full, pretty” faces. But the real action, as always, is focused on the thin characters. This time, it’s a young man, thin and shivering! But while Intermezzo expands Rooney’s idea of what a body can look like, thinness ultimately forms as much a plot device as it did in the previous three novels.

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