Gottfried owns the art of delving into a character's head and heart. She especially shone at this with Trevor's voice. I relish this level of deep third writing, but I had two problems with it in this book. One, the majority of the script was inner monologue and narration, specifically in the first half. There'd be a little action, a little external dialogue, then pages of inward thinking would follow before the next action beat. The second issue was the lack of affection I had for Trevor, the main POV. He's a self-absorbed, sniveling imbecile who behaved like a seven-year-old boy around girls. The main conflict in the book could've been averted if he'd just voiced his problem. I was so frustrated with him that by the conclusion, when he finally unclogged the C word from his stubborn throat, my weariness was irreversible. Too late, I thought, as I turned the last page with a grinding of teeth. My favorite dynamic in this book was Kerri. Her odd relationship with Trevor, the nickname he gave her, perceiving her through his viewpoint. Her character was an ingenious tool to develop Trevor, making her a potent piece of the story--I adored how she shared her marital bed in the end, such a great show of her empathy. If there'd been something more redeeming about Trevor Effing Wolff, some little thing I could identify with as I was able to do with Kerri, I would've been more sympathetic to the amount of time it took to grow his character.