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Overview
Daniel Sullivan leads a complicated life. A New Yorker living in the wilds of Ireland, he has children he never sees in California, a father he loathes in Brooklyn, and his wife, Claudette, is a reclusive ex–film star given to pulling a gun on anyone who ventures up their driveway. Together, they have made an idyllic life in the country, but a secret from Daniel’s past threatens to destroy their meticulously constructed and fiercely protected home. Shot through with humor and wisdom, This Must Be the Place is an irresistible love story that crisscrosses continents and time zones as it captures an extraordinary marriage, and an unforgettable family, with wit and deep affection.
Product Details
| ISBN-13: | 9780385349437 |
|---|---|
| Publisher: | Knopf Doubleday Publishing Group |
| Publication date: | 07/19/2016 |
| Series: | Vintage Contemporaries |
| Sold by: | Random House |
| Format: | eBook |
| Pages: | 400 |
| Sales rank: | 62,170 |
| File size: | 12 MB |
| Note: | This product may take a few minutes to download. |
About the Author
Read an Excerpt
This Must Be the Place
Maggie O'Farrell
The Strangest Feeling in My Legs
Daniel
Donegal, 2010
There is a man.
He’s standing on the back step, rolling a cigarette. The day is typically unstable, the garden lush and shining, the branches weighty with still-falling rain.
There is a man and the man is me.
I am at the back door, tobacco tin in hand, and I am watching something in the trees, a figure, standing at the perimeter of the garden, where the aspens crowd in at the fence. Another man.
He’s carrying a pair of binoculars and a camera.
A -bird--watcher, I am telling myself as I pull the frail paper along my tongue, you get them in these parts. But at the same time I’m thinking, -Really? -Bird--watching, this far up the valley? I’m also thinking, Where is my daughter, the baby, my wife? How quickly could I reach them, if I needed to?
My heart cranks into high gear, -thud--thudding against my ribs. I squint into the white sky. I am about to step out into the garden. I want the guy to know I’ve seen him, to see me seeing him. I want him to register my size, my former -track--and--field--star physique (slackening and loosening a little, these days, admittedly). I want him to run the odds, me versus him, through his head. He’s not to know I’ve never been in a fight in my life and intend it to stay that way. I want him to feel what I used to feel before my father disciplined me: I am on to you, he would say, with a pointing finger, directed first at his chest, then mine.
I am on to you, I want to yell while I fumble to pocket my cigarette and lighter.
The guy is looking in the direction of the house. I see the tinder spark of sun on a lens and a movement of his arm that could be the brushing away of a hair across the forehead or the depression of a camera shutter.
Two things happen very fast. The dog—a whiskery, leggy, slightly arthritic wolfhound, usually given to sleeping by the stove— streaks out of the door, past my legs, and into the garden, emitting a volley of low barks, and a woman comes around the side of the house.
She has the baby on her back, she is wearing the kind of sou’wester hood usually sported by North Sea fishermen, and she is holding a shotgun.
She is also my wife.
The latter fact I still have trouble adjusting to, not only because the idea of this creature ever agreeing to marry me is highly improbable, but also because she pulls unexpected shit like this all the time.
“Jesus, honey,” I gasp, and I am momentarily distracted by how shrill my voice is. “Unmanly” -doesn’t cover it. I sound as if I’m admonishing her for an -ill--judged choice in soft furnishings or for wearing pumps that clash with her purse.
She ignores my high-pitched intervention—who can blame her?—and fires into the air. Once, twice.
If, like me, you’ve never heard a gun report at close range, let me tell you the noise is an ear shattering explosion. Magnesium-hued lights go off inside your head; your ears ring with the three-bar high note of an aria; your sinuses fill with tar.
The sound ricochets off the side of the house, off the flank of the mountain, then back again: a huge aural tennis ball bouncing about the valley. I realize that while I’m ducking, cringing, covering my head, the baby is strangely unmoved. He’s still sucking his thumb, head leaning against the spread of his mother’s hair. Almost as if he’s used to this. Almost as if he’s heard it all before.
I straighten up. I take my hands off my ears. Far away, a figure is sprinting through the undergrowth. My wife turns around. She cracks the gun in the crook of her arm. She whistles for the dog. “Ha,” she says to me before she vanishes back around the side of the house. “That’ll show him.”
My wife, I should tell you, is crazy. Not in a requiring-medication-and-wards-and-men-in-white-coats sense although I sometimes wonder if there may have been times in her past—but in a subtle, more socially acceptable, less ostentatious way. She -doesn’t think like other people. She believes that to pull a gun on someone lurking, in all likelihood entirely innocently, at our perimeter fence is not only permissible but indeed the right thing to do.
Here are the bare facts about the woman I married:
—She’s crazy, as I might have mentioned.
—She’s a recluse.
She’s apparently willing to pull a gun on anyone threatening to uncover her hiding place.
I dart, insomuch as a man of my size can dart, through the house to catch her. I’m going to have this out with her. She can’t keep a gun in a house where there are small children. She just can’t.
I’m repeating this to myself as I pass through the house, planning to begin my protestations with it. But as I come through the front door, it’s as if I’m entering another world. Instead of the gray drizzle at the back, a dazzling, primrose-tinted sun fills the front garden, which gleams and sparks as if hewn from jewels. My daughter is leaping over a rope that her mother is -turning. My wife who, just a moment ago, was a dark, forbidding figure with a gun, a long gray coat, and a hat like Death’s hood, she has shucked off the sou’wester and transmogrified back to her usual incarnation. The baby is crawling on the grass, knees wet with rain, the bloom of an iris clutched in his fist, chattering to himself in a satisfied, guttural growl.
It’s as if I’ve stepped into another time frame entirely, as if I’m in one of those folktales where you think you’ve been asleep for an hour or so, but you wake to find you’ve been away a lifetime, that all your loved ones and everything you’ve ever known are dead and gone. Did I -really just walk in from the other side of the house, or did I fall asleep for a hundred years?
I shake off this notion. The gun business needs to be dealt with right now. “Since when,” I demand, “do we own a firearm?”
My wife raises her head and meets my eye with a challenging, flinty look, the skipping rope coming to a stop in her hand. “We don’t,” she says. “It’s mine.”
A typical parry from her. She appears to answer the question without answering it at all. She picks on the element that isn’t the subject of the question. The essence of sidestepping.
I rally. I’ve had more than enough practice. “Since when do you own a firearm?”
She shrugs a shoulder, bare, I notice, and tanned to a soft gold, bisected by a thin white strap. I feel a momentary automatic mobilization deep inside my underwear—strange how this doesn’t change with age for men, that we’re all of us but a membrane away from our inner teenage selves—but I pull my attention back to the discussion. She’s not going to get away with this.
“Since now,” she says.
“What’s a fire arm?” my daughter asks, splitting the word in two, her small, heart-shaped face tilted up to look at her mother.
“It’s an Americanism,” my wife says. “It means ‘gun.’ ”
“Oh, the gun,” says my sweet Marithe, six years old, equal parts pixie, angel, and sylph. She turns to me. “Father Christmas brought Donal a new one, so he said Maman could have his old one.”
This utterance renders me, for a moment, speechless. Donal is an -ill--scented homunculus who farms the land farther down the valley. He—and his wife, I’d imagine—have what you might call a problem with anger management. Somewhat trigger-happy, Donal. He shoots everything on sight: squirrels, rabbits, foxes, -hill walkers (just kidding).
“What is going on?” I say. “You’re keeping a firearm in the house and—”
“ ‘Gun,’ Daddy. Say ‘gun.’ ”
“—a gun, without telling me? Without discussing it with me? Don’t you see how dangerous that is? What if one of the children—”
My wife turns, her hem swishing through the wet grass. “Isn’t it nearly time to leave for your train?”
Table of Contents
The Strangest Feeling in My Legs 3
I Am Not an Actress 35
Down at the Bottom of the Page 45
It's Really Very Simple 58
Auction Catalogue: Claudette Wells Memorabilia 75
How a Locksmith Must Feel 93
Enough Blue to Make 101
Where Am I and What Am I Doing Here? 112
The Kind of Place You'd Have Trouble Getting Out Of 119
Show Me Where ft Hurts 133
Severed Heads and Chemically Preserved Grouse 140
Something Only He Can See 167
The Tired Mind Is a Stovetop 182
Oxidized Copper Exactly 199
The Girl in Question 211
The Dark Oubliettes of the House 222
The Logical Loophole 237
A Jagged, Dangerous Mass of See 245
You Do What You Have to Do 253
When All the Tiny Lights Begin to Be Extinguished 265
Down the Line 278
And Who Are You? 284
Absolutely the Right Tree 294
An Unexpected Outcome 312
To Hang On, to Never Let Go 320
Always to Be Losing Things 331
Gold-Hatted, High-Bouncing Lover 353
For Dear Life 367
Acknowledgments 385
Reading Group Guide
The questions, discussion topics, and reading list that follow are intended to enhance your reading group’s discussion of This Must Be the Place, the dazzling new novel by Maggie O’Farrell, acclaimed author of The Vanishing Act of Esme Lennox.
1. For an epigraph, O’Farrell selected a quote from a poem by Louis MacNeice: “World is crazier and more of it than we think, / Incorrigibly plural.” What does this mean? Why do you think she chose it?
2. We see various parts of the story through the eyes of more than a dozen characters, jumping back and forth in time. How do their points of view build on one another?
3. Daniel introduces Claudette to readers by saying, “My wife, I should tell you, is crazy” (page 5). Now that you’ve read the entire novel, do you believe he means this?
4. Why does Daniel’s hearing Nicola Janks’s voice on the radio set the entire story in motion?
5. On page 31, Daniel thinks, “That same feeling of dislocation between what you thought you were doing and what you actually did envelops me as I sit there, as I press my elbows into the surface of my desk. All along I’d thought my life had been one thing, but it now seems it might have been something else entirely.” What does he mean? Is he right about that?
6. The first chapter from Claudette’s perspective, “I Am Not an Actress,” is told from the first-person plural and second-person point of view. Why do you think O’Farrell chose to tell that portion of the story like that? What effect does it have?
7. What does Niall’s eczema symbolize?
8. On page 59, Phoebe describes her feeling of dissociation, “Like I’ve been cut down the middle and I’m in two places at once, or I’m getting radio interference from somewhere, or I’m just a shadow.” On page 361, Marithe describes a similar sensation. Aside from sharing a father, what is the connection between the girls?
9. What do we learn from the auction catalog of Claudette’s memorabilia?
10. When Myrna advises Daniel to go home—“ʻLeave whatever this is alone. What can be gained from turning over old coals?’” (page 118)—why doesn’t he listen? What could have changed if he had?
11. Several chapters are told from the perspective of minor characters, such as Lenny and Maeve. How does this reset your understanding of what’s happening?
12. Pascaline describes Daniel as “someone who is so . . . different on the inside from how they are on the outside” (page 134). What does she mean by that?
13. Why does Daniel’s career as a linguist, studying the way language changes, matter to the story? What does it tell us about his character?
14. What propels Daniel to track down Todd?
15. Why didn’t Todd give Daniel’s letter to Nicola?
16. How does Teresa’s story affect your understanding of Daniel’s behavior? What purpose does her story serve in the novel as a whole?
17. On page 249, Ari describes his stammer as being like an iceberg, “ʻOnly a small part of it is visible, while under the water is a large, jagged, dangerous mass of ice.’” What else in the novel might be described this way?
18. Grief affects some characters more profoundly than others. What similarities do you see in how Daniel and Niall dealt with Phoebe’s death? And differences?
19. Why does Claudette react the way she does when Daniel tells her about Nicola?
20. In the interview transcript, Timou tells the interviewer that Claudette ran away because of “you.” “ʻNot you personally but what you stand for. You are the synecdoche for what she ran away from’” (page 314). What does this mean?
21. Rosalind’s chapter, “Always to Be Losing Things,” reads almost like a stand-alone short story. Why do you think O’Farrell chose to add another layer to the novel? What do we learn here?
22. Rosalind tells Daniel, “ʻI have a theory . . . that marriages end not because of something you did say but because of something you didn’t. All you have to do now is work out what it is’” (page 351). Does Daniel work this out? What does he say to Claudette?
23. Siblings—step-, half, full—play major roles in the novel. How might things have been different if, say, Lucas wasn’t always there for Claudette, or Ari didn’t eventually gain siblings of his own?
24. Toward the end of the novel, Daniel disarms Claudette by complimenting her on her parenting. Why does this have such an effect on her?
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