Three years ago, I enjoyed Naoise Dolan’s first novel, Exciting Times. Her second, The Happy Couple, is a rather different novel in scope and setting, but is no less enjoyable.

The Happy Couple begins with the engagement of Celine, a professional pianist, and Luke, whose exact occupation I can’t recall, but it was something like investment banking. The novel then follows the couple as their wedding approaches, with the central question being whether they will actually end up marrying.

The narrative perspective shifts several times through the novel between different members of their friendship group and the wedding party. Archie, the best man and Luke’s ex; Phoebe, the bridesmaid and Celine’s sister, who is uncertain about Luke; and Vivian, a wedding guest and another of Luke’s exes. This isn’t nearly as complicated in practice as I’ve made it sound.

As with her first novel, Dolan’s writing is razor sharp, and yet still warm. The characters—and especially the way they relate to one another—feel true to life, and the novel feels very current.

I thoroughly enjoyed this novel.

I noted down far too many quotations to paste in this post, but here’s a selection. The first is a lovely line from the acknowledgements, the rest are from the main body of the text:

As a child, I read hundreds of novels before it even occurred to me that people had written them, let alone that I could be one such person. I learned my craft from fellow authors, most of them long-dead. So thank you to fiction, my favourite thing, my thing that I somehow get to do.

I only ever say good morning if someone else has decided that we’re doing this. Sleeves up, let’s deem the morning good. But all mornings are good to good morning people, making it really a statement of pessimism. We give the day that greets us a participation trophy because we assume it can’t do better.

Both parents were from Dublin, but I was born in London when my mother’s plan to go off to England and get an abortion had been executed partly but not fully.

I find it irksome when book blurbs say right at the end: ‘It’s also very funny’, as if humour were an afterthought and not the central force that prevents us from killing a) each other, and b) ourselves.

Loneliness wasn’t having no one. Loneliness was the gap between what you hoped for and what you got.

‘I don’t want you to fuck off for months at a time without checking if I mind.’

‘Okay, yeah, sorry,’ Luke said.

Confirmed: truly impossible to make Luke fight.

Archie said: ‘Sorry and you’ll change, or sorry and you won’t?’

‘Sorry, I won’t, Luke said. I mean, I probably won’t. I’m not good with relationships.’

‘But that’s not a mysterious… you’re talking about your own actions like it’s a weather forecast. You’re you. You’re management. You decide if you’ll be “good with relationships” or not.’

They did not, as a rule, ‘share feelings’.

Celine’s family had never taught her how. To see the tint of your internal mood ring as warranting disclosure, and to expect a rapt audience—no, no.

Ever since those prep classes, the phrase ‘Jesus died to save our sins’ has bothered me. I mean even just the grammar. Shouldn’t it be ‘save us from our sins’? If the sins themselves were the subject of salvation, wouldn’t that mean Jesus died to save your gambling addiction, i.e. to keep you gambling? Wouldn’t that make him an enabler? Or Him, if you’re into that sort of thing.

I’m only happy when doing something that makes me forget I exist.