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Of course, there is no directive that Rooney should include fat bodies in his fiction as a kind of distraction toward inclusivity, even though those bodies do make up nearly half the US population. But consider the reverse: If another writer, even one of Rooney’s stature, were to include a similar number of fat characters in his fiction, that stylistic choice would be questioned in a way that Rooney’s is not. Rooney’s thin characters are able to disengage from their bodies in ways that fat people are often assumed to be incapable of, simply because our physical shape invariably implies a lack of discipline that thin people lack.

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.

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