Fine Fine Fine was not fine. Not even close.
The only thing I liked about this book was the chemistry between the main characters. The banter between Hanna and Milo was funny, sometimes.
... Mild Spoilers Ahead ...
Here's what I didn't like:
1. I never thought I'd say this sentence, ever, but -- they made too big a deal out of having a dead parent! Grief was the one thing the main characters had in common. It was used like a tool to get them to sleep together, fall in love, keep them apart, and finally, bring them together just in time for the happy ending. It lacked depth because, as large a shadow as the idea of Hanna's mom cast on this book, we never got to know who she was as a person or a mother. How did they spend time together? What did they fight about? Same with Milo and his dad. The grief here was so inward-looking. Selfish. And Milo's whole 'I can't be with someone who has living parents because they will never understand what I'm going through,' was... dumb. No doubt some real people might feel that way, but the toothless way it was written here -- how exactly did he feel when his pain was misunderstood? why exactly did he expect some girl he was sleeping with to understand his pain when he wasn't willing to connect or commit to her? -- made it cheap.
2. The sex scenes felt like a punishment. The author was dead set against using the correct terms for body parts (only during sex scenes for some reason, as there are many mentions of tits and ass and pussy outside of them). And yet, she wanted to describe lovemaking for pages and pages. It made for a very confusing read like... who's hand was where? is she on top? and sometimes, wait, are they having sex right now? Even more frustrating -- they get interrupted, constantly. If it wasn't his brother or her ex walking in on them, they interrupted themselves to have *deep conversations*. I'm sorry, but stopping just before penetration to make characters fret over manufactured conflict doesn't make your story angsty.
3. I guess there was a plot... I dunno. The entire middle third was the characters circling the plot, because if they actually sat to talk about it, the book would be over in two pages.
4. Why give Hanna's ex this massive redemption arc when Hanna wouldn't let him have a civil conversation with her, or let him string two sentences together, for the first 80% of the book??? I get it, she was angry and grieving. I have no problem with characters making stupid decisions in a novel. But here, I could see the author's hand so clearly. The characters' actions and inactions weren't true to them, but timed to stretch the story to 360 pages.
5. They were ALWAYS drinking! Bar, restaurant, his apartment, here and there -- most of this book was them moving from place to place, ordering a drink without progressing the story. If this was the vibe I wanted, I'd have read some sad girl literary fiction novel set in 1960s France.
6. Another sentence I didn't think I'd say -- this book made me hate sunflowers. The idea of Hanna's mom's favourite flowers appearing in some form whenever Hanna needed a sign was cool. It was emotionally satisfying when it appeared the first time. It was fine the second time. The next ten, twenty times... on the shirt, the tattoo, the painting, the endless flower arrangements... nope nope nope.
7. This is a pet peeve of mine, but having a heroine who's into smutty romance and a hero who understands and encourages it gives me the ick. It reeks of a desperate desire to get validation for our way of life from our male partners. It's a shortcut authors use to connect with their readers without doing the work of writing relatable, believable characters.
This book has broken me. Thanks Netgalley, but I think I'm gonna give romance ARCs a rest for a while. Focus on other genres. Get some sun. Touch some grass.