
Family Drama is her debut novel.
At Lit Hub she tagged five titles that make for:
a masterclass in how to steal from Shakespeare, featuring some world-class thieves. Each story contains shades of its foundation. All deal in Shakespeare’s timeless themes of power and family, loss and love. All strike at the most profound elements of life. But each also departs in truly original ways, allowing the author to express something honest and new through the conversation with the source.One novel on the list:
Sally Rooney, IntermezzoRead about the other entries on the list at Lit Hub.
Joyce may be the obvious influence on Rooney’s latest work, but as fans of Ulysses will know, a seam of Hamlet runs throughout that great Irish masterpiece. This literary gene certainly passed to Rooney’s modern-day Dubliners, and it’s no surprise that the author re-read Hamlet whilst writing Intermezzo.
Both books are about sons grieving their fathers and avoiding their doomed relationships. As a character, Rooney’s Peter Koubek is much like the Danishprince; as a human-rights lawyer, he similarly sees himself as a vehicle of justice whose actions are often misguided, resulting in more harm than good. Peter’s struggles with the nature of sanity and mortality echo some of the Dane’s more famous monologues. “Under what conditions is life endurable,” Peter wonders, to paraphrase the great question of the play. Hamlet, dense with soliloquies, translates well to the intense interiority of Intermezzo.
Even within her prose, Rooney occasionally slips into iambic pentameter. When Margaret, a local arts administrator, recalls her brief affair with Peter’s brother Ivan as “a dream, attached at the corners to no reality, shared with no one, vanishing into nothingness.” Even the most mundane moments are elevated with this language, as when Peter “made from unthinking habit too much coffee.” In three places—including the final page—direct quotes from Hamlet weave into Peter’s interior monologue. “Thou know’st, ’tis common; all that lives must die,” he muses, a nod to his consciousness of the play even as it influences him as a literary character.
Rooney avoids, however, the bloody tragedy—Peter, unlike Hamlet, is saved by having a brother. Ivan proves one reason for Peter “to be” in the end, along with his two non-drowned girlfriends, Sylvia and Naomi. Peter’s only vanquishing is an ego-death, as he’s forced to release his fixation with monogamy and acknowledge the complexities of relationships. Would such a revelation have been a better end for Hamlet? Perhaps. It certainly would have saved Gertrude a lot of grief.
--Marshal Zeringue



















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