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The novel opens with Julia, a successful TV producer, with her legs straight up in the air, encouraging her boyfriend Mark's sperm to reach their destination. Julia thinks she wants a baby to fill the huge gap that has suddenly appeared in her life. But Mark thinks:
We don't make love anymore. We make babies. And we're failing.Maeve, who also works in TV, is adamant that she doesn't want a baby or a relationship; she's happy as a single, ambitious, career girl: "The togetherness. The cosiness. That coupledom that is pure anathema to me." But she finds herself pregnant after a one-night stand and finds that her preconceptions turn out to be misconceptions. And finally there is Sam; voluptuously, glowingly pregnant at the beginning of the book, but near the end screaming at her beloved partner Chris: "You haven't been stuck in all day with a screaming baby. You have absolutely no idea what it's like for me." Chris feels "neglected. Abandoned . Unwanted."
Babyville is played out in the present tense, with a staccato style delivery, with beats of humour between the emotional labour. The emotions may be powerful and universal, but the prose style may need a longer fermentation period. --Eithne Farry
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