Sorrow and Bliss is a brilliantly faceted and extremely funny book about depression that engulfed me in the way I'm always hoping to be to be engulfed by novels. While I was reading it, I was making a list of all the people I wanted to send it to, until I realized that I wanted to send it to everyone I know.
Brutal, tender, funny, this novel - a portrait of love in all of its many incarnations - came alive for me from the very first page. I saw myself here. I saw the people I love. I am changed by this book.
Sorrow and Bliss is hilarious, haunting, and utterly captivating. Meg Mason has created a heroine as prickly as Bernadette in Where'd You Go, Bernadette. Her humor is as arch and wise as the best work of Joan Didion and Rachel Cusk, yet completely original. What a thrilling new voice!
An incredibly funny and devastating debut ... enlivened, often, by a madcap energy. Yet it still manages to be sensitive and heartfelt, and to offer a nuanced portrayal of what it means to try to make amends and change.
This is a romance, true, but a real one. It's modern love up against the confusing, sad aches of mental illness, with all its highs, lows, humour and misery. Comparisons to Sally Rooney will be made, but Mason's writing is less self-conscious than Rooney's, and perhaps more mature. Her character work is outstanding, and poignant-the hairline fractures, contradictions and nuances of the middle-class family dynamic are painstakingly rendered with moving familiarity and black humour, resulting in a combination as devastating and sharply witty as Phoebe Waller-Bridge's Fleabag.
A sharply observed, darkly hilarious and merciless portrait of a thoroughly messed-up family. Patrick Melrose meets Fleabag. Brilliant.
So dark, so funny, so true. You will see your sad, struggling, triumphant self in this deeply affecting novel
Exploring the multifaceted hardships of mental illness and the frustrating inaccuracy of diagnoses, medications, and treatments, Sorrow and Bliss is darkly comic and deeply heartfelt. Much like the narrator of Eleanor Oliphant is Completely Fine, Martha's voice is acerbic, witty, and raw. Fans of Marian Keyes should put this on their to-read lists.
Martha's anecdotes, simultaneously funny and sad, are stacked with observations that alternate between brutally cutting-especially when directed at her mother and at the patient and supportive Patrick-and aching, as when her oblique descriptions of her sister's growing family increasingly belie her true feelings about motherhood. Witty and stark, Martha's emotionally affecting story will delight fans of Sally Rooney.