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Literary Critique of Sally Rooney’s Normal People (Part I)

I picked up and put down Normal People by Sally Rooney multiple times as I came across it in my everyday life—at the bookstore, at the library, online. I had heard that she was a Marxist, and I could only roll my eyes and vow to never read her book.

But a few years after its first publication, I saw her top all the literary fiction lists and lauded as the voice of the millennial generation. I could hardly ignore someone who received such ravings and applause from what seemed like several thousands of fans. So, I borrowed the book from my local library and spent a weekend reading.

The following article will need to be in two parts: the first part concerning Rooney’s writing style and the second part concerning the story itself.     

The very first thing to pop out at me was the use of dates for chapter headings. It begins with “January 2011” right on page 1. The readers now know that this text is time-sensitive and not evergreen like all good literary fiction should be. Please note that when I critique these style choices and techniques, it is not just found in this book but in most of the modern books of today, be they genre or literary fiction. Exact dates and times, like those found on all of our digital paper trails nowadays, erase the concept of reading a piece in any time period.

This brings me to another important point: I do not believe that Man and the values he requires to survive have changed. His emotions have not changed. That is why we can read ancient texts, like those of Plato and Aristotle, and still gain wisdom from them. They are not static pieces of text, which make no sense to us today. So, writing can be everlastingly relevant, and literary fiction, a form of fiction that teaches us what it means to be human, should be sensitive to such notions.

The next striking decision made by the author is that there are no quotation marks used at all in the book. The whole point of grammar is to make the reader stay with the story. It is the hidden mechanics of a piece well-written. Therefore, quotation marks are necessary to avoid confusion and pull the reader out of the story.

A single printing press traveled overseas from England to Massachusetts in 1638 and another arose in 1685. These presses printed mostly religious texts for their local communities. Colonial America began to publish more news-based books in 1728 when Benjamin Franklin began his own printing press. Since those early days of publishing, books were an enjoyable pastime for many a family.

But since the creation of the publishing industry, the roots were planted for today’s “Big Four” (Penguin Random House (1927), Macmillan (1843), Hachette Book Group (1826), and HarperCollins (1817)). By the end of the nineteenth century, the companies began publishing the likes of William James (1842-1910), James Joyce (1882-1941), William Faulkner (1897-1962), and Ernest Hemingway (1899-1961). All these writers, and many others, used James’s idea in psychology of “stream of consciousness” writing, where I believe grammar was first butchered and thrown to the wayside in favor of primal emotions cast upon the page. The authors took this theory to mean that our minds do not form complete sentences and that incomplete phrases are best for expressing our true inner experiences. Forget the structure of language and the reasons for its construction, these writers shout.

Though Sally Rooney and most modern writers do not go as far with the nonsensical writing as Joyce did, it is still common to see sentence fragments used for emphasis, much like in Hemingway’s writing. Ernest Hemingway used a mixture of sentence fragments and short telegraphic sentences. Rooney is similarly described for her “perfectly spare prose” (Goodreads blurb) in which this technique is still used. However, this type of prose used throughout a book strips it of its intended emphatic impact and renders the impact of the text overall immature.

Therefore, alongside this “modern” choice of skipping the quotation marks is also the author’s decision to slip in sentence fragments, like using “Yesterday” (2) to emphasize her points. Unfortunately, many more modern writers have bent the grammar rules like Hemingway, Faulkner, and Joyce. Perhaps poets more than novelists can get away with such playful uses of language, but for a story that is trying to delve into a serious study of character, I find that it, again, pulls the reader out of the story.

Another massively annoying technique used by every modern author I’ve read is the use of name-dropping. Brand names are tossed left and right, which to a modern audience may be understood, but in a decade will be lost on the readers. Rooney will require several footnotes at the end of her book for things like “Facebook” (4, 82, 170, 192 x2, 212, 232 x3), “MacBook” (21, 70), “Destiny’s Child remix” (32), “Kanye West song […] with the Curtis Mayfield sample” (40), “Aldi” (47), “Watch the Throne (74), “Vampire Weekend” (86), “Twitter” (100), “Skype” (191, 192, 222), “Evian bottle” (197), “Microsoft computer” (121), “Coke” (160, 229 x2), “White Lies song” (234), “PlayStation” (266), etcetera. I am only a few years younger and even I had to look some of these references up. That’s why I believe it is a good idea, especially in literary fiction, to never drop brand names. I know writers wish to give more detail and I even remember my creative writing teacher asking the class, “What kind of apple is it? Is it a Gala apple or a Red Delicious?” But for a reader, all they want to know is if it was a red apple, or if it was sweet, or bruised, it does not require a name for them to understand the point you are making as a writer. You can describe things with the senses, not by their brand names.

I also feel uncomfortable reading about characters texting, emailing, and online chatting because oftentimes the writer, as Rooney does, keeps the messages in their “original” forms, which usually means sentences that begin with the lower case, shorten words to letters, and generally misuse all forms of the English language. A novel is not meant to be a photograph of real life; it is an art form. An author does not have to choose to put in text messages as they look in real life, just as epistolary novels probably did not add the obvious spelling mistakes or scratched out sections in real letters they received. Art is all about omitting and shifting around things in real life to make it better, showing Man how the world ought to be—not how it is.

Instead, Rooney chooses to show her readers what the world is as she sees it, in the words of Hobbes’s Leviathan, as “nasty, brutish, and short.” Rooney emphasizes such ugliness by using curse words in her text, such as, “The economy’s fucked anyway” (21). I find that unless no other word would be better suited to that character, curse words should never be used. Being vulgar in literary fiction is unnecessary, lowly, and a cheap way to show character. I feel the same way about using clichés. There are better ways to explain a scene than just throwing around garbage words and seeing what moves the reader only after having a fit.

My final critique of the style choices this author made is her trickling throughout the book of her liberal ideology. Of course, I believe that this is the key to what got her published in the first place.

Allow me to list every obvious moment of liberalism and virtue signaling allowed to carry on throughout this book:

  1. “school as an oppressive environment.”  (12)
  2. “He told her she should try reading The Communist Manifesto, he thought she would like it” (13, about Marxism)
  3. The Fire Next Time (14, about racism)
  4. The Golden Notebook (27, about feminism)
  5. “It’s something to do with capitalism, she said.

      “Yeah. Everything is, that’s the problem, isn’t it? she nodded.” (36)

“It’s like Marianne was saying, he replies. It’s not that enjoyable to have. I mean, it is what it is, I don’t get much fun out of it.

“Peggy gives a toothy grin. If I were a man, she says, I would have as many as three girlfriends. If not more.” (99)

  1. “Time consists of physics, money is just a social construct. […] I don’t buy into the morality of work, she says. Some work maybe, but you’re just moving paper around an office, you’re not contributing to the human effort.” (112)
  2. “May the revolution be swift and brutal.” (125)
  3. “fascist”; “chauvinist pig” (144)
  4. “Peggy thinks men are disgusting animals with no impulse control […]” (144)
  5. “That’s money, the substance that makes the world real. There’s something so corrupt and sexy about it.” (166)
  6. “Magdalene Laundry report”; “Denis O’Brien case” (173)
  7. “The whole idea of “meritocracy” or whatever, it’s evil, you know I think that.” (180)
  8. “Recycling bin” (256)

Now, there were some other more minor points made concerning class division and Connell wearing “Argos chic” clothes (151) and being a “milk-drinking culchie” (154), but those do not slap readers across the face as the other quotes above do.

Many of these topics concern the Left’s tribalistic love affair with topics like racism, feminism, and Marxism. Sally Rooney openly declares herself to be a Marxist, and it seems like that opened the doors to her publishing career.

End of Part I

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Views Expressed Disclaimer: The postings on this site are my own and do not necessarily represent the postings, strategies, or opinions of American Wordsmith, LLC. Please also know that while I consider myself an Objectivist and my work is inspired by Objectivism, it is not nor should it be considered Objectivist since I am not the creator of the philosophy. For more information about Ayn Rand’s philosophy visit: aynrand.org.

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