This Must Be the Place

The first section of the novel introduces all the major characters and most of the minor characters, focusing on the relationships that set the plot in motion. Nicola is introduced, though her story isn’t told until the middle of the novel. Daniel is established as a doting husband and father, though he is haunted by the memory of something in his past. Claudette is initially erratic, and Daniel says that she’s “crazy. Not in a requiring-medication-and-wards-and-men-in-white-coats sense…but in a subtle, more socially acceptable, less ostentatious way” (5). However, she is also clearly a devoted a mother who homeschools her children and protects them fiercely, which is evidenced by the domesticity he encounters directly following her chasing away the man with her shotgun. Marithe is as dedicated to language as her father, insisting that he say “gun” rather than “firearm” so that it’s clearer when he’s arguing with Claudette. Phoebe, in contrast, has difficulty distinguishing “island” from “Ireland” and appears initially as a troubled teen, having abandoned her previous close friends and begun experimenting with drugs. Ari is introduced largely in considering his relationship with Daniel, as is Niall—both boys benefit from Daniel’s patience and willingness to see them as they are rather than as they could be. However, Niall’s perspective shows Daniel’s own erratic moments when Daniel’s frustration overwhelms him, and he draws rashes on the posters at the doctor’s office.

The chapters in the first part of the novel have notable point-of-view shifts. Not only does the narrative shift from Daniel, to Claudette, to Niall, to Phoebe, but all three literary perspectives (first, second, and third person) are also represented. The first chapter, set in first-person point of view in Daniel’s voice, establishes that Daniel is the protagonist and the primary point of view character, even as the following chapters jump around in time and in perspective. Claudette’s first chapter is in second person, which is an unusual point of view in fiction, but it draws the reader into Claudette’s experience and perspective.

Though Daniel is the primary protagonist, O’Farrell’s choice to use second person connects the reader to Claudette directly and establishes her as the secondary protagonist. Niall’s chapter uses the footnotes that child Niall has discovered, underscoring the layers of Niall’s personality. The footnotes further establish that there are multiple stories taking place simultaneously that intersect in complex ways that require explanation. Phoebe is the only character besides Daniel in 2010 whose narrative is in first person. Getting inside Phoebe’s head allows the reader to see Daniel fully through someone else’s eyes. Given that Phoebe dies without making another appearance in the novel, the use of first person in her chapter further connects her with Daniel, which establishes a foundation of understanding for the depth of his grief later in the novel.

The Isolating Effect of Secrets is introduced with the introduction of Daniel’s own secrets in the first chapter. The remote nature of the Donegal house and Claudette’s eclectic behavior demonstrate isolation, but the connection between secrets and isolation is not initially clear. In fact, it appears that Daniel’s secret prompts him to establish contact with Phoebe and Niall rather than isolating himself. However, that choice is, as established later, an act of self-isolation from both his New York family and Claudette.

The description of the series of gates along the driveway to the Donegal house shows that Claudette and her family live behind multiple levels of protection, which resonates with the theme of secrets and isolation. Although Claudette’s identity as a famous movie star has not yet been revealed in the novel, her violent reaction to the man on their property, the gates, and the fact that she and the children don’t accompany Daniel to his father’s birthday party suggest that she isn’t simply an odd person but someone hiding from the world.

The Dissociating Nature of Trauma is introduced both with Daniel’s description of Claudette and with Phoebe’s dissociation and accidental drug use. Daniel notices Claudette’s “protean quality” (22), which establishes both her changing nature and a connection to Greek mythology. Proteus is a god who changes his shape when he wants to avoid answering a question. This metaphorically indicates that changes in Claudette’s appearance and attitude are related to what she’s hiding both from herself and from the larger world.

Notably, the only chapter in Phoebe’s point of view shows her firsthand experience of dissociation, which is directly related to her trauma. Phoebe’s trauma at this stage of the novel is primarily the loss of her father before she could even form a concrete memory of him. O’Farrell establishes that Phoebe dissociates from time to time and that that leads her to make problematic choices—like leaving a friend who wants the best for her for a group that only wants to use her.

There are several examples of The Power of Language in the first section. Marithe’s frustration with Daniel using “firearm” instead of “gun” in the first chapter establishes their connection at a core linguistic level. She counts in Irish as she plays with a ball in the yard, even though Daniel and Claudette primarily speak English, Claudette speaks French, and Marithe is homeschooled. She absorbs the language around her, which reveals how much her environment affects her. Daniel discusses his fascination with words and his delight in the changing nature of language. This reveals Daniel’s changing nature and how language and identity are connected.