This Must Be the Place     Maggie O’Farrell     (2016)

Maggie O’Farrell trusts her readers to catch on to what’s she’s doing with her oblique plot lines. She trusts that readers won’t jump ship when she suddenly shifts the setting to another hemisphere. She especially trusts that readers will take note of her chapter titles, which include the name of the person whose point of view is adopted for that chapter, as well as the city and year in which that chapter takes place. It’s dizzying at first, but once you get used to it, there’s a bit of a reader buzz at the beginning of each chapter. Oh, now you’re in Donegal, Ireland, in 2010, with Daniel narrating in first person. Then, hello, Brooklyn 1944! It’s a third-person narrative about Teresa, who turns out to be Daniel’s mother. And welcome to Goa, India, in 1996, with a third-person narrative about Claudette, Daniel’s second wife. Decades and continents whizz past as you put the pieces of the plot together.

This Must Be the Place ends up being a character study of two people who both have immense talents and big hearts but also serious flaws. Their lives are messy, peopled by previous lovers and by children with problems of their own. Daniel Sullivan is an American linguistics professor who has lost custody of his children in a contentious divorce from his first wife. On a trip to Ireland to retrieve his grandfather’s ashes, Daniel comes across a young boy on the roadside in Donegal. This is how he meets Claudette Wells, the boy’s mother, who is a recluse in the mountains, having fled a life of international stardom and infernal paparazzi. Daniel and Claudette fall in love.

Readers get the life histories of both Daniel and Claudette through those chapters that flash back and forth in time. Some of the chapters border on gimmicky, especially the one that’s a catalog of Claudette’s personal objects that are put up for auction, complete with inset photos. Some of the plot assumptions are wobbly. I doubt that Claudette could really have kept her presence in Ireland a secret for years—in rural Africa or South America, perhaps, but not in Ireland. And I can’t see how Daniel could get work permits for whatever country he was in. None of that matters, however, as O’Farrell reveals more and more about Daniel and Claudette, drawing readers into their struggles.

Along the way, O’Farrell’s descriptive passages work well. Here is Daniel narrating: “Winter is the best season to see Paris, I’ve always thought, when the pavements are sheer with frost, when the sun in low in the sky, when the Seine is swollen and brown, twisting fibrously beneath the bridges.” (266)

And here is Daniel being described when he is in a depressive state: “He is watching the red digital numbers of his alarm clock mutate into their successors: 5 gains an extra descender on its lower-left corner to become 6; to become 7, the 6 must lose almost all of itself, all its left-hand side, all its lower and middle strokes; the only consolation, he tells the 6-soon-to-be-7, is that you’ll get them all back for the full house that is 8. He watches the numbers tot themselves up, then spill over into another hour . . .” (295)

This Must Be the Place offers particularly excellent insights into the interdependence of partners in a marriage, and the portrayals of Daniel's and Claudette’s children are moving and believable. Overall, it’s a satisfying read. I plan to watch for future offerings from O’Farrell.