- Gallery Books
- Release Date
- December 2017
Chick-lit, Contemporary Romance, New Adult
Marriages of convenience are so…inconvenient.
Rescued by Calvin McLoughlin from a would-be subway attacker, Holland Bakker pays the brilliant musician back by pulling some of her errand-girl strings and getting him an audition with a big-time musical director. When the tryout goes better than even Holland could have imagined, Calvin is set for a great entry into Broadway—until he admits his student visa has expired and he's in the country illegally.
Holland impulsively offers to wed the Irishman to keep him in New York, her growing infatuation a secret only to him. As their relationship evolves from awkward roommates to besotted lovers, Calvin becomes the darling of Broadway. In the middle of the theatrics and the acting-not-acting, what will it take for Holland and Calvin to realise that they both stopped pretending a long time ago?
Book Review by Pip (reviewer)
Dec 16, 2017 [ OFFICIAL REVIEW ]
7 people found the following review helpful
Have you ever wanted something so much that you'd do anything for it, particularly when life is in limbo?
ROOMIES seems to revolve around this central question with the fake marriage trope, when a series of events actually leads to the courthouse to get around immigration issues, until feelings get thrown into the mix.
I'm going to say from the start that I'm quite simply blown away by Christina Lauren's prose. That much alone kept me up late at night, though I did have to give into the pillow by the time I was a third through. Still, the meta-speak about authorship, the nuanced understanding of dreams that grow smaller and flit away as the years go by, the fear of never being the person you've aspired to—they're all very adult-themes that are written into this story, woven with metaphors of performance, music and being players on life's very stage which I loved and wanted to linger over. How long has it been since I've had a book like this, after all?
This, by extension, made Holland a very relatable protagonist, well, at least up to three-quarters of the way when I empathised with her and walked in her shoes. Written wholly in her POV, the authors stripped Holland raw—the embarrassing bits don't get put away and shoved into a closet; they were instead, brought out to light via her rambly thoughts, in a manner that had me grimacing and cringing with her because stuff to do with infatuation can't always be remembered through rose-tinted lenses particularly when you're confronted directly with it. By and large, I loved the slow burn, the gradual development and the deepening of Holland's and Calvin's connection past the crush and down to the nitty-gritties of a relationship.
But ROOMIES did take a bit of an unwelcome turn that felt like unnecessary angst with small obstructions here and there, as was the whole cliché of needing to reinvent oneself or trying to find oneself in that journey to sort out the emotional mess that I found myself rolling my eyes at. That bit, that enforced separation, simply felt like a way of forcing 'character growth' while keeping them miserable and to some extent and wallowing in self-pity while a supposed transformative work of art was in the making during this turning point.
In movie-speak, it's the dawning of the new day after blustery, electricity-popping thunderstorm before the HEA happens—essentially, the waxing-lyrical about the need to rediscover those years of lost self-worth.
And I hated it with a passion.
Not just the clichéd conflict but also the whole new level of Holland's self-absorption, paranoia and low self-esteem that seemed to take the story apart after the glorious build, just as I wanted to scream that every relationship took work despite the screw-ups and that this separation felt more like running away than anything else, because no one seemed the better for it.
Kicking Calvin out to take time for herself, then getting angry when she had a glimpse of him apparently moving on and making assumptions without really finding out what happened? Just what became of the Holland of the earlier pages that I near-idolised, who in fact, seemed to have become more brittle and more cowardly than the one who meandered her way around searching for purpose a few months past her walking away? Had this break really served its purpose, then, if all I got at the end was a weepy, egg-on-her-face woman who'd lost more than I thought she'd gained?
Some may say Holland/Calvin's HEA was hard-won. I can only shake my head and say that it could have come sooner, with a lot less drama and well, stupidity—without taking the fun out of it to boot.
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