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Conversations with Friends: A Novel Paperback – August 7, 2018
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SALLY ROONEY NAMED TO THE TIME 100 NEXT LIST • WINNER OF THE SUNDAY TIMES (UK) YOUNG WRITER OF THE YEAR AWARD • ONE OF BUZZFEED’S BEST BOOKS OF THE DECADE • ONE OF THE TEN BEST BOOKS OF THE YEAR: Vogue, Slate • ONE OF THE BEST BOOKS OF THE YEAR: Elle
Frances is a coolheaded and darkly observant young woman, vaguely pursuing a career in writing while studying in Dublin. Her best friend is the beautiful and endlessly self-possessed Bobbi. At a local poetry performance one night, they meet a well-known photographer, and as the girls are then gradually drawn into her world, Frances is reluctantly impressed by the older woman’s sophisticated home and handsome husband, Nick. But however amusing Frances and Nick’s flirtation seems at first, it begins to give way to a strange—and then painful—intimacy.
Written with gemlike precision and marked by a sly sense of humor, Conversations with Friends is wonderfully alive to the pleasures and dangers of youth, and the messy edges of female friendship.
SHORTLISTED FOR THE INTERNATIONAL DUBLIN LITERARY AWARD
“Sharp, funny, thought-provoking . . . a really great portrait of two young women as they’re figuring out how to be adults.”—Celeste Ng, Late Night with Seth Meyers Podcast
“The dialogue is superb, as are the insights about communicating in the age of electronic devices. Rooney has a magical ability to write scenes of such verisimilitude that even when little happens they’re suspenseful.”—Curtis Sittenfeld, The Week
“Rooney has the gift of imbuing everyday life with a sense of high stakes . . . a novel of delicious frictions.”—New York
“A writer of rare confidence, with a lucid, exacting style . . . One wonderful aspect of Rooney’s consistently wonderful novel is the fierce clarity with which she examines the self-delusion that so often festers alongside presumed self-knowledge. . . . But Rooney’s natural power is as a psychological portraitist. She is acute and sophisticated about the workings of innocence; the protagonist of this novel about growing up has no idea just how much of it she has left to do.”—Alexandra Schwartz, The New Yorker
“This book. This book. I read it in one day. I hear I’m not alone.”—Sarah Jessica Parker (Instagram)
- Print length336 pages
- LanguageEnglish
- Publication dateAugust 7, 2018
- Dimensions5.18 x 0.68 x 7.94 inches
- ISBN-100451499069
- ISBN-13978-0451499066
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| NORMAL PEOPLE | NORMAL PEOPLE: The Scripts | |
| MORE BY SALLY ROONEY | An Emmy-nominated Hulu original series. Normal People is the story of mutual fascination, friendship & love. It takes us from that first conversation to the years beyond, in the company of two people who try to stay apart but find that they can’t. | Delve deeper into the Emmy- & Golden Globe–nominated Hulu series based on Sally Rooney's bestselling novel with this must-have collection of the Normal People scripts, featuring behind-the-scenes photos & an introduction by director Lenny Abrahamson. |
Editorial Reviews
Review
A Publishers Weekly Pick of the Week
Vogue’s 10 Best Books of 2017
Slate’s 10 Favorite Books of the Year
Elle’s Best Books of the Year
The Cut’s Best Books by Women
Vulture's "Best New Paperbacks"
“A writer of rare confidence, with a lucid, exacting style… [O]ne wonderful aspect of Rooney’s consistently wonderful novel is the fierce clarity with which she examines the self-delusion that so often festers alongside presumed self-knowledge… But Rooney’s natural power is as a psychological portraitist. She is acute and sophisticated about the workings of innocence; the protagonist of this novel about growing up has no idea just how much of it she has left to do.”
– The New Yorker
“Rooney has the gift of imbuing everyday life with a sense of high stakes…a novel of delicious frictions.”
– New York Magazine
“I love debuts where you just can’t believe that it was a debut… Conversations with Friends paints a nuanced, page-turning portrait of a whip-smart university student in the throes of an affair with an older married man.”
– Zadie Smith, Elle
“The dialogue is superb, as are the insights about communicating in the age of electronic devices. Rooney has a magical ability to write scenes of such verisimilitude that even when little happens they’re suspenseful.”
– Curtis Sittenfeld, The Week
“Sharp, funny, thought-provoking . . . a really great portrait of two young women as they’re figuring out how to be adults.”
– Celeste Ng, "Late Night with Seth Meyers Podcast"
“This book. This book. I read it in one day. I hear I'm not alone.”
– Sarah Jessica Parker (Instagram)
“The self-deceptions of a new generation are at the core of Sally Rooney’s debut, Conversations With Friends (Hogarth), which captures something wonderfully odd-cornered and real in the story of an Irish millennial…”
– Megan O'Grady, Vogue's 10 Best Books of 2017
“The debut novel of a young Irish writer whose forthcoming novel Normal People earned her rave reviews and a Booker Prize nomination, Conversations With Friends is one of those campus novels in which all of the real education takes place off campus. When two young women, best friends but former lovers, become friendly with an older married couple, their lives intertwine and explode in a coming-of-age story that’s weightier and wiser than you might expect.”
– Maris Kreizman, Vulture's "Best New Paperbacks" column
"[A] bracing, miraculous debut."
– The Millions
“Sally Rooney’s debut novel is a remarkably charming exploration of that very uncharming subject: the human ego…Conversations With Friends sparkles with controlled rhetoric. But it ends up emphasizing the truths exploding in the silences.”
– Slate
“In this searing, insightful debut, Rooney offers an unapologetic perspective on the vagaries of relationships… a treatise on married life, the impact of infidelity, the ramifications of one’s actions, and how the person one chooses to be with can impact one’s individuality. Throughout, Rooney’s descriptive eye lends beauty and veracity to this complex and vivid story.”
– Publishers Weekly (starred)
“Readers who enjoyed Belinda McKeon's Tender and Caitriona Lally's Eggshells will enjoy this exceptional debut."
– Library Journal (starred)
"A smart, sexy, realistic portrayal of a woman finding herself."
– Booklist (starred)
“An astonishing assured debut.”
– The Bookseller
"The book of the summer...the wider issues underscoring her book – including race, sex and gender – which in her careful treatment, emerge far more complex and often funnier, than we could have ever imagined."
– Refinery29
"A very funny, very humanly messy tale of sexual and artistic self-discovery in which every page reveals shrewd emotional insight. Caught between laser-eyed irony and heart-melting sincerity, the book is a masterclass in narrative tone that left me desperate to read whatever Rooney writes next... An addictive, funny and truthful first novel about love and literature."
– Metro
“[Sally] Rooney has managed to take something old, the romance novel, and make it new: Frances is a bisexual communist student, allergic to expressing emotion, and her love affair is with a married man, and yet the book makes no attempt to make a moral stand on fidelity or punish its characters for their passions. The effect is, frankly, riveting, and creates a peculiar sensation of danger…An addictive read.”
– Rufi Thorpe, author of The Girls From Corona del Mar and Dear Fang, With Love
"Sally Rooney's writing is cool, wry and smooth, and gives the reader a sense of being in the lucky position of overhearing not only what fascinating strangers are talking about, but also what they're thinking. I was riveted til the last page."
– Emily Gould, author of Friendship
"Fascinating, ferocious and shrewd. Sally Rooney has the sharpest eye for all of the most delicate cruelties of human interaction."
– Lisa McInerney, author of The Glorious Heresies (winner of the Baileys Women's Prize for Fiction)
“[Sally] Rooney captures the mood and voice of contemporary women and their interpersonal connections and concerns without being remotely predictable…A clever and current book about a complicated woman and her romantic relationships.”
- Kirkus
"Rooney writes so well of the condition of being a young, gifted but self-destructive woman, both the mentality and physicality of it. She is alert to the invisible bars imprisoning the apparently free. Though herself young – she was born in 1991 – she has already been shortlisted for this year’s Sunday Times EFG short story award. Her hyperarticulate characters may fail to communicate their fragile selves, but Rooney does it for them in a voice distinctively her own."
- The Guardian
"A novelist to watch: An addictive debut, with nods to Tender is the Night, heralds a bright new talent."
- Sunday Times
“A contemporary love story so powerful, graceful and honest it left me reeling. [Conversations with Friends] is, by turns, astonishing, heart-rending and perfect; there's not a word out of place.”
– Luke Kennard, author of The Transition
"Sally Rooney is a writer going all the way to the top. Conversations with Friends features the 21st century, Irish descendents of Salinger's guileless wiseasses brought to life in prose as taut and coolly poised as early Bret Easton Ellis."
– Colin Barrett, author of Young Skins
"There's not a beat out of place in Sally Rooney’s astonishingly poised writing. Conversations with Friends is the most sophisticated and perceptive novel I've read about relationships in the 2010s."
– Gavin Corbett, author of This Is The Way and Green Glowing Skull
"Written with such precision and perceptiveness, full of arid humour and reckless despair, a novel of spine-tingling salience."
– Sara Baume, author of Spill Simmer Falter Wither and winner of the 2015 Geoffrey Faber Memorial Prize
About the Author
Excerpt. © Reprinted by permission. All rights reserved.
Chapter 1
Bobbi and I first met Melissa at a poetry night in town, where we were performing together. Melissa took our photograph outside, with Bobbi smoking and me self-consciously holding my left wrist in my right hand, as if I was afraid the wrist was going to get away from me. Melissa used a big professional camera and kept lots of different lenses in a special camera pouch. She chatted and smoked while taking the pictures. She talked about our performance and we talked about her work, which we’d come across on the internet. Around midnight the bar closed. It was starting to rain then, and Melissa told us we were welcome to come back to her house for a drink.
We all got into the back of a taxi together and started fixing up our seat belts. Bobbi sat in the middle, with her head turned to speak to Melissa, so I could see the back of her neck and her little spoon-like ear. Melissa gave the driver an address in Monkstown and I turned to look out the window. A voice came on the radio to say the words: eighties . . . pop. . . classics. Then a jingle played. I felt excited, ready for the challenge of visiting a stranger’s home, already preparing compliments and certain facial expressions to make myself seem charming.
The house was a semi-detached red-brick, with a sycamore tree outside. Under the streetlight the leaves looked orange and artificial. I was a big fan of seeing the insides of other people’s houses, especially people who were slightly famous like Melissa. Right away I decided to remember everything about her home, so I could describe it to our other friends later and Bobbi could agree.
When Melissa let us in, a little red spaniel came racing up the hall and started barking at us. The hallway was warm and the lights were on. Next to the door was a low table where someone had left a stack of change, a hairbrush and an open tube of lipstick. There was a Modigliani print hanging over the staircase, a nude woman reclining. I thought: this is a whole house. A family could live here.
We have guests, Melissa called down the corridor.
No one appeared so we followed her into the kitchen. I remember seeing a dark wooden bowl filled with ripe fruit, and noticing the glass conservatory. Rich people, I thought. I was always thinking about rich people then. The dog had followed us to the kitchen and was snuffling around at our feet, but Melissa didn’t mention the dog so neither did we.
Wine? Melissa said. White or red?
She poured huge, bowl-sized glasses and we all sat around a low table. Melissa asked us how we’d started out performing spoken word poetry together. We had both just finished our third year of university at the time, but we’d been performing together since we were in school. Exams were over by then. It was late May.
Melissa had her camera on the table and occasionally lifted it to take a photograph, laughing self-deprecatingly about being a ‘work addict’. She lit a cigarette and tipped the ash into a kitschy-looking glass ashtray. The house didn’t smell of smoke at all and I wondered if she usually smoked in there or not.
I made some new friends, she said.
Her husband was in the kitchen doorway. He held up his hand to acknowledge us and the dog started yelping and whining and running around in circles.
This is Frances, said Melissa. And this is Bobbi. They’re poets.
He took a bottle of beer out of the fridge and opened it on the countertop.
Come and sit with us, Melissa said.
Yeah, I’d love to, he said, but I should try and get some sleep before this flight.
The dog jumped up on a kitchen chair near where he was standing and he reached out absently to touch its head. He asked Melissa if she had fed the dog, she said no. He lifted the dog into his arms and let the dog lick his neck and jaw. He said he would feed her, and he went back out the kitchen door again.
Nick’s filming tomorrow morning in Cardiff, said Melissa. We already knew that the husband was an actor. He and Melissa were frequently photographed together at events, and we had friends of friends who had met them. He had a big, handsome face, and looked like he could comfortably pick Melissa up under one arm and fend off interlopers with the other.
He’s very tall, Bobbi said.
Melissa smiled as if ‘tall’ was a euphemism for something, but not necessarily something flattering. The conversation moved on. We got into a short discussion about the government and the Catholic Church. Melissa asked us if we were religious and we said no. She said she found religious occasions, like funerals or weddings, ‘comforting in a kind of sedative way’. They’re communal, she said. There’s something nice about that for the neurotic individualist. And I went to a convent school so I still know most of the prayers.
We went to a convent school, said Bobbi. It posed issues. Melissa grinned and said: like what?
Well, I’m gay, said Bobbi. And Frances is a communist.
I also don’t think I remember any of the prayers, I said. We sat there talking and drinking for a long time. I remember that we talked about the poet Patricia Lockwood, who we admired, and also about what Bobbi disparagingly called ‘pay gap feminism’. I started to get tired and a little drunk. I couldn’t think of anything witty to say and it was hard to arrange my face in a way that would convey my sense of humour. I think I laughed and nodded a lot. Melissa told us she was working on a new book of essays. Bobbi had read her first one, but I hadn’t.
It’s not very good, Melissa told me. Wait till the next one comes out.
At about three o’clock, she showed us to the spare room and told us how great it was to meet us and how glad she was that we were staying. When we got into bed I stared up at the ceiling and felt very drunk. The room was spinning repetitively in short, consecutive spins. Once I adjusted my eyes to one rotation, another would begin immediately. I asked Bobbi if she was also having a problem with that but she said no.
She’s amazing, isn’t she? said Bobbi. Melissa. I like her, I said.
We could hear her voice in the corridor, and her footsteps taking her from room to room. Once when the dog barked we could hear her yell something, and then her husband’s voice. But after that we fell asleep. We didn’t hear him leave.
Bobbi and I had first met in secondary school. Back then Bobbi was very opinionated, and frequently spent time in detention for a behavioural offence our school called ‘disrupting teaching and learning’. When we were sixteen she got her nose pierced and took up smoking. Nobody liked her. She got temporarily suspended once for writing ‘fuck the patriarchy’ on the wall beside a plaster cast of the crucifixion. There was no feeling of solidarity around this incident. Bobbi was considered a show-off. Even I had to admit that teaching and learning went a lot more smoothly during the week she was gone.
When we were seventeen we had to attend a fundraising dance in the school assembly hall, with a partially broken disco ball casting lights on the ceiling and the barred-up windows. Bobbi wore a flimsy summer dress and looked like she hadn’t brushed her hair. She was radiantly attractive, which meant everyone had to work hard not to pay her any attention. I told her I liked her dress. She gave me some of the vodka she was drinking from a Coke bottle and asked if the rest of the school was locked up. We checked the door up to the back staircase and found it was open. All the lights were off and no one else was up there. We could hear the music buzzing through the floorboards, like a ringtone belonging to someone else. Bobbi gave me some more of her vodka and asked me if I liked girls. It was very easy to act unfazed around her. I just said: sure.
I wasn’t betraying anyone’s loyalties by being Bobbi’s girlfriend. I didn’t have close friends and at lunchtime I read textbooks alone in the school library. I liked the other girls, I let them copy my homework, but I was lonely and felt unworthy of real friendship. I made lists of the things I had to improve about myself. After Bobbi and I started seeing each other, everything changed. No one asked for my homework anymore. At lunchtime we walked along the car park holding hands and people looked away from us maliciously. It was fun, the first real fun I’d ever had.
After school we used to lie in her room listening to music and talking about why we liked each other. These were long and intense conversations, and felt so momentous to me that I secretly transcribed parts of them from memory in the evenings. When Bobbi talked about me it felt like seeing myself in a mirror for the first time. I also looked in actual mirrors more often. I started taking a close interest in my face and body, which I’d never done before. I asked Bobbi questions like: do I have long legs? Or short?
At our school graduation ceremony we performed a spoken word piece together. Some of the parents cried, but our classmates just looked out the assembly-room windows or talked quietly amongst themselves. Several months later, after more than a year together, Bobbi and I broke up.
Product details
- Publisher : Hogarth; Reprint edition (August 7, 2018)
- Language : English
- Paperback : 336 pages
- ISBN-10 : 0451499069
- ISBN-13 : 978-0451499066
- Item Weight : 9 ounces
- Dimensions : 5.18 x 0.68 x 7.94 inches
- Best Sellers Rank: #14,387 in Books (See Top 100 in Books)
- #500 in Coming of Age Fiction (Books)
- #1,046 in Contemporary Women Fiction
- #1,614 in Literary Fiction (Books)
- Customer Reviews:
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About the author

SALLY ROONEY was born in the west of Ireland in 1991. Her work has appeared in The New Yorker, The New York Times, Granta and The London Review of Books. Winner of the Sunday Times Young Writer of the Year Award in 2017, she is the author of Conversations with Friends and the editor of the Irish literary journal The Stinging Fly.
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Bobbi and Frances are college students; Melissa and Nick are in their thirties. There are age and economic differences among the four protagonists. There are questions about the sanctity and value of marriage. Discussions about monogamy and other questionable values systems are commonplace when Sally Rooney creates millennial characters. Conversations with Friends is the first of Sally Rooney’s books, and after reading the other two, I decided to go back and read this one in anticipation of the new Hulu adaptation. It is my least favorite of her books because of its rambling conversations and thin plot. However, Rooney appeals to millennials and certainly captures their disenfranchisement, political rants, economic anxiety, and existential dread and self-hate.
I cannot summarize the viewpoints as well as these quotes from the novel:
Bobbi says, “...monogamy was based on a commitment model, which served the needs of men in patrilineal societies by allowing them to pass property to their genetic offspring, traditionally facilitated by sexual entitlement to a wife. Nonmonogamy could be based on an alternative model completely, Bobbi said. Something more like spontaneous consent.” (p. 241). Kindle Edition.
The discussion of love, the human spirit, and mental health intermingle with capitalism.
“if you look at love as something other than an interpersonal phenomenon and try to understand it as a social value system… it’s both antithetical to capitalism, in that it challenges the axiom of selfishness which dictates the whole logic of inequality and yet also it’s subservient and facilitatory i.e. mothers selflessly raising children without any profit motive.” (p. 174). Kindle Edition.
“To love someone under capitalism you have to love everyone. Is that theory or just theology?” (p.286) Kindle Edition
“...depression is a humane response to the conditions of late capitalism.” (p. 119). Kindle Edition.
I understand the negative reviewers who describe this book as a lot of whining by self-centered 20 year olds. It took me awhile to warm up to the characters, and even then, I was only really interested in Frances and Nick and their vulnerabilities. The narrative reads less like a plot-driven novel and more like an introspective of Frances. I think that’s the point. Yes, she is immature and insecure, and she makes a lot of selfish choices. In the end, I’m not sure she even regrets those choices. But when I looked at her life through the lens of her relationship with her alcoholic father and enabling mother, and what it means to be an adult child of an alcoholic, the book came together for me. Nick’s issues with depression and his willingness to please adds another layer that explains a lot about their relationship.
Reviewers also pointed out the often overly simplistic sentence structure. It worked for me because the book was told by Frances and the staccato-like syntax reflected the rhythm of her thought after thought after thought. It gave me more insight into her insecurities and confusion as she grapples with who she is and what actually makes her happy. At other times, when for a moment we were more in the setting than in Frances’s head, the writing is stop-in-your-tracks gorgeous. I think the combination of writing style is a testament to Rooney’s gift for language.
This is not a book for everyone, which accounts for the love-it or hate-it reviews, but I enjoyed it and look forward to reading more by this author.
I also watched the Hulu series based on this novel and have to say I preferred the book. Mr Taylor Swift is quite wonderful as Nick Conway but I did not love the casting/direction otherwise - definitely glad I read the novel first and knew of Frances’ internal monologue/feelings before watching the series.
Top reviews from other countries
For me, this has been my least favourite of the three. That sounds like I didn’t enjoy it, I did.. I also read it in a day, didn’t want to put it down. I’ve given it 5 stars because it’s a 5 star book, Sally Rooney is by far my favourite author and I really enjoy her novels. All of her books are a must read.
The narrator of the novel is Frances, a 21 year old poet and student at Trinity College in Dublin. She performs her poetry with her best friend, Bobbi, and it is through those performances that they meet Melissa, a photojournalist, and her actor husband Nick. Despite an age gap of over a decade, the four start to socialise together, but when Frances and Nick form a mutual attraction things start to get very complicated.
I had huge sympathy for Frances character, despite her being very different from me and her behaviour not always being exemplary. Labelled 'unemotional' and 'aloof' by those around her, her internal monologue showed a rather different picture. Someone who could not express her feelings, and whose calm facade was misinterpreted by others. Someone who was in fact desperately lonely, dealing with life's problems alone due to her reluctance to open up. In fact, one of the themes of the novel is that the image people project to the world may be very different to what is really going on inside their heads, and how hard it is to really judge someone's motives or feelings.
Rooney's writing perfectly captures the way it feels to be a young adult, when every emotion is heightened, every relationship feels life-changing, and every conversation is fraught with drama, meaning and anxiety. I still remember how this felt, before I hit my thirties and started small talking my way through life. It gave me an additional sympathy for Frances who, despite her apparent intelligence and sophistication, is really barely more than a child.
If you really don't like books about relationships, no matter how 'literary' the style, you might not enjoy this, and likewise if you're looking for something with action or mystery. But even if you don't usually go in for this type of novel, like me, it might be worth a try. Sometimes it's good to read different genres for a change, and this must surely be one of the best written of this kind of book. And if you do enjoy this type of story about emotions and relationships then I can only imagine you will love it.
I feel that I didn’t appreciate the theme of the storyline of the book because I crave for stability, trust and healthy relationships in life which helps you grow and not intoxicating, emotional roller-coasters that people look out nowadays and then call them as complicated.
It takes a deeper analysis of the nature and responses of these four people towards everything and each other. Like how one moves and responds to the actions or feelings of another.
What I feel that the book lacked is the depth, same what I felt for Normal People. Not once did I feel any connection with the characters. The characters were very flat and lacked self-esteem and to be honest, self-loathing was too much to bear. It’s just that none of us would ever know these characters because these characters do not want to be known.
“You underestimate your power so you don't have to blame yourself for treating other people badly.”
I was very confused with the character of Frances because as the book moves forward, Frances’ main conflict was that she is unable to allow others to see her vulnerability, to see that she cares for them or is hurt by them or even that she simply enjoys their company. She wishes to be cool and distant and people somehow find her to be lovely. I feel this is just “too complicated” to explain yet again.
It is a book with small instances of vulnerability, insecurity, humanity, and tenderness. The themes of the books, from my point of view, were loneliness and the need to connect with others and they were very poorly discussed or presented. You can feel how high the walls of these characters were just to protect them from falling apart again and at points, it just seems too much to take in.
The writing style of the author was not at all satisfactory. It kind of bored me. I didn’t see any exclamation point and every sentence of the book ended in a period or question mark. The words had no passion or depth at all, just plain and impassive.
This book just isn’t for me and I wouldn’t be suggesting this to my reader friends.




















