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Peter spends much of his free time with Sylvia. He shares the story of his failed lunch with Ivan, which amuses her. Sylvia poses a philosophical problem: If a liar claims that “all of his hats are green” (127), what is the precise nature of his lie? They discuss the literary merits of the Gospel, reminding Peter of his tenuous faith. On another day, Peter sits in on one of Sylvia’s classes, which reminds him again of their college days. Later in bed, they flirt, which Sylvia interrupts with a question about Peter’s relationship with Naomi. Peter suggests that the end of that relationship is imminent.
Sylvia wonders if Peter ever talks about her pain with anyone else. She has hardly spoken about it herself; Peter is the only person who really knows what she experiences. Sylvia muses that her life is over: For example, she can’t have sex without feeling pain, forcing her to set aside any romantic endeavors. She is still capable of experiencing some pleasure. Peter tries to indulge this by placing his hand on her belly, which she likes, but then she suddenly bursts into tears, wanting Peter to “remember [her] the way [she] was” (135). When Peter offers to leave, Sylvia tells him to stop being dramatic. She can’t always help him to cope with his grief.
The following morning, Sylvia leaves early. Still remorseful over the previous night, Peter gets several texts from Naomi’s friend Janine. Naomi has been evicted and arrested. Peter goes to the police station.
When Peter argues that Naomi has been arrested without charge, Naomi is immediately released. When he learns that Naomi doesn’t have a place to stay, Peter offers his apartment.
As soon as they arrive, Naomi deduces that Peter has been staying over at Sylvia. Peter clarifies that he and Sylvia aren’t formally together and evades further questions on the topic. They talk about Peter’s abrupt exit from Naomi’s place several nights earlier. Peter regrets not reading her eviction letter more closely as promised, but Naomi nevertheless acknowledges Peter’s efforts in her release.
Naomi wonders what Peter tells Sylvia about her. Sensing that his relationship with Sylvia isn’t that serious, Naomi seduces Peter. They have aggressive sex. Peter feels protective of Naomi and reiterates his invitation to let her stay, but withholds his thoughts about death by suicide.
While waiting for Peter at the restaurant where they have agreed to meet for dinner, Ivan thinks about how their differences have narrowed over the last few years. Previously, Ivan and Peter were ideologically opposed: Peter was more progressive than Ivan and frequently criticized him. When Ivan went to college, he also became more progressive. Meeting Margaret has strengthened his feminism because now he can empathize with her experience. He supposes this is the same for Peter, who sympathizes with the many women he dates. It possibly even explains why he is so casually charming with everyone he meets.
Ivan is torn between trying to follow up an invoice at work and studying opening theory to improve his chess playstyle. He worries that he will be unable to pay his rent on time. He also worries that Christine will make good on her threat to do something about his dog. Ivan cannot bring himself to spend a weekend away from Margaret, however, as he thinks of her constantly.
When Peter arrives, Ivan is initially unsure how to describe his relationship with Margaret. Peter asks innocuous questions, learning that Margaret works at the arts center where Ivan’s game took place.
Over dinner, Peter complains about the lack of ideals among his colleagues. Ivan is unsure how to engage in this conversation, but admits he is too much of a coward to do anything that meaningfully contributes to society. Peter claims to be a coward as well, which surprises Ivan. Peter explains that being good at something and being courageous are different things, but also suggests that they are being too hard on themselves as people who face the risk of loss on a regular basis. Ivan realizes that their failure to live up to their respective ambitions is common ground.
Ivan talks about his difficulties at work, revealing his anxieties about paying his rent. Peter offers a loan. Ivan is moved by the gesture and asks Peter about his romantic life. Peter admits that his relationship with Sylvia is complicated, though he still loves her. Ivan relates by comparing it to Margaret’s situation with her ex-husband. This startles Peter, who learns that Margaret is 36 years old.
Peter criticizes Margaret for taking advantage of a much younger man, speaking of her in derogatory terms. This offends Ivan, who declares his hatred for Peter and leaves the restaurant. Ivan regrets telling Peter about Margaret at all: Margaret wants to keep their relationship discreet for this exact reason. He wonders if it’s possible to take back what he said. He concedes, however, that Peter was right to observe that Ivan isn’t really part of Margaret’s life yet.
Ivan remains bothered on his next visit to Leitrim, but never shares the source of his anxiety with Margaret. Instead, Ivan tells Margaret about the situation with Alexei, sharing his fondness for the dog.
Ivan and Margaret go for an enjoyable swim along the coast. Afterwards, Ivan offers to kiss her, but understands if she prefers not to since they are out in public. Margaret accepts and enjoys his kiss. They get dinner outside of town, so that they can eat without being recognized.
On the drive back, Ivan asks Margaret about her marriage. Margaret nervously shares that her husband, Ricky, has alcoholism. His behavior had made their relationship very difficult. Ivan reassures her, and argues that it isn’t fair that Margaret feels any guilt for the breakdown of their marriage. She compares Ricky’s addictive behavior to someone who has psychotic hallucinations but fails to seek help for them. Margaret eventually sought relief through prayer; Ivan reciprocates with his belief in an ordered universe and suggests that beauty implies a meaningful existence.
Ricky’s abusive behavior includes harassing Margaret at work while drunk. She wonders why God has brought Ivan into her life, but encourages Ivan to look at their relationship through a sensible moral lens. Ivan argues that this implies that their relationship has obviously unbalanced power dynamics, but this is not the case. Margaret worries that Ivan will eventually resent her; Ivan offers to end their relationship if that is what she wants. He doesn’t believe that his immaturity and lack of agency are facts in their relationship: If the relationship helps Margaret to feel better about herself, it benefits his own ego too, balancing the dynamic. Margaret agrees to continue seeing him.
Back in Dublin, Ivan is watching football with friends when he lets slip that he is seeing someone. He does not reveal any details about her identity. His friends express their excitement, which satisfies Ivan. Ivan compares himself to his friend, Colm, who has earned the rank of International Master (IM). Ivan has been playing longer than Colm, but has only risen to the rank of FIDE Master. This puts pressure on Ivan to perform better, though Margaret has reminded him not to rush since he is still grieving.
Colm and Ivan play chess, and Ivan wins. Colm reminds him of an upcoming norm event, which will help Ivan to reach IM status. The opportunity would allow Ivan to play beautiful chess again. He thinks about his conversation with Margaret about order and beauty, and supposes that ugliness cannot exist in nature. He wanted to tell Margaret that he loves her after she opened up about her marriage, but held back because of the complications it would cause. He wonders if this desire stems from the fact that he hasn’t heard anyone say they love him since his father died.
These chapters mark several shifts in Peter’s relationships. First, Naomi moves into Peter’s apartment, following her eviction. Their last encounter ended with Peter abruptly walking out, realizing that he would never truly fit into Naomi’s life despite the fact that he had risked his last relationship to be with her. However, now Naomi draws deeper into Peter’s life, escalating her dependency on him by making him directly responsible for her housing. This complicates Peter’s relationship with Sylvia because they are so close to resembling a couple, although Sylvia refuses to engage sexually, cautioning him of the confusing implications of a romantic relationship between them. Because Sylvia draws the line at being together, Peter almost seems destined to turn to Naomi—now that she lives with him, she and he too begin to resemble a couple. This dynamic foreshadows the end of the novel, when the trio finds a way to incorporate both relationships.
Much like Peter, Sylvia longs for a time long past. Her nostalgia is directly caused by the accident she experienced; her diminished physical condition since then connects to the theme of The Frailty of the Material World. Peter’s sense of lost time results in suicidal ideation, and Sylvia takes a similar approach: By refusing any attempts at sex, she resigns herself to what she sees as a half-life—for her, sexual expression is the validating factor of a romantic relationship.
Peter and Sylvia, who have little physical connection, relate through communication. In contrast, in Peter’s relationship with Naomi, sex is the key activity, as well as the venue for bargaining power. Yet unlike in his relationship with Sylvia, Peter does not feel he can share his inner world with Naomi. He always hesitates or falls short of confessing how he really feels, implying that he is afraid of being vulnerable around her and experiencing The Limits of Language. In another contrast to Peter’s relationship with Sylvia, his ability to provide for Naomi’s material needs positions him as her protector or caretaker; he and Sylvia do not rely on each other at all.
Ivan’s relationship with Margaret results in the second major plot development of these chapters—his falling out with Peter. This direct connection highlights the interplay of Sibling Dynamics and Romantic Relationships. Peter judges Margaret for being with a younger man; unlike the reader, he does not have access to her perspective or motivations, and so he misconstrues her character. In an instance of dramatic irony—a literary device in which readers have more information than characters and so can see character errors—readers are shown that Peter’s assumptions about Margaret are wrong. Meanwhile, Ivan cannot help but be affected by Peter’s disapproval, which colors his next encounter with Margaret. Ivan dissects whether she is vulnerable enough to let him into her life, asking questions that Peter might ask to discern Margaret’s intentions and trying to find ways to assert and validate his feelings for Margaret in a way that meets Peter’s skill for debate. Ivan’s romance with Margaret thus becomes part of the rivalry pattern that has defined his relationship with Peter since their youth.
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By Sally Rooney