Ardnakelty, Ireland is a very complicated place. Author Tana French has featured that complexity in writing about the lives of two people who are trying very hard not to get sucked into it. Long before they know each other, they have come to the conclusion that you can be on your own and live the life you choose—or you can be part of the Ardnakelty culture and be jerked around by undercurrents that have existed for centuries.
It’s one or the other.
Cal Hammond is a retired cop from Chicago. He moved to Ardnakelty when he retired because it looked like quiet and beautiful place. The author doesn’t say this in so many words, but I think the way she presents Cal is that he was looking for a place where being an honest authentic person would be enough to get by on.
Lena Dunne has lived here her whole life. When she says she will do anything to keep from being sucked into “it,” she knows exactly what she is talking about. Here’s a good example. At the wake for a young girl, Lena is drawn into a collection of women—Philomena Doherty, Julie Quinn, Melanie O’Halloran—she has known since grade school and whom she has been carefully avoiding for the last several decades. They represent “it”—the Ardnakelty way—to Lena.
Cal and Lena are pretending to be engaged to be married. Even if there were a fourth book to what is currently only a trilogy, I am sure they would not marry. They are pretending to be engaged to keep Ardnakelty and all its ways distant from the life they want together. It is the setting in which they live. He does; she does; they do. But they want it to be “there,” so that there is still a “here” where they can live.
As you can tell from that much, a good deal of effort goes into maintaining that line and staying on the outside of it. They fail in the end. Each and both. In this essay, I would like to tell you about the failure of each—“both” can wait for another time.
Cal fails by becoming a community leader. He didn’t want to, but when his neighbor, Mart Lavin, is removed from the scene, it is Cal or nobody. Cal is unwilling to turn the community over to a hostile force, so he takes the role he has been avoiding. The hostile force is led by Tommy Moynahan. Cal shows up at Tommy’s house one evening with most of the men who are major players in the town. They are all big and they all hate Tommy Moynahan, but Cal is the only one who knows how to deal with him.
I have been aiming this account at the word “here.” There are two good reasons for that. One for Cal, one for Lena. Here is Cal’s.
Cal “We’d like a talk with you”
Tommy “It’d be my pleasure. Will we say Thursday afternoon around four o’clock? Or Friday?
Cal “We’re here now.”
All his life as a local big shot, Tommy Moynahan has been able to name the times and places of meetings. The physical presence on his property of a large group of angry men is what “here” means in this setting. Cal is saying, “Our army is on the field. Where is yours?”
I have said already that Lena gets to the same place as Cal. But her estrangement from Ardnakelty is an entirely different kind and her reconciliation with it—her willingness after all these years, to become part of it—happens like this.
She has been living under threat for weeks. She no longer thinks clearly; she is hunkered down in her unheated house when three cars pull up in her driveway. She goes to the bedroom and gets the shotgun from under the bed. After a bit, there is a banging on her door. Then more.
It is Sheila Reddy, Yvonne McCabe, and Julie Quinn. It is cold and raining outside and they want Lena to let them in. They want to be let in in the obvious sense of the word (it’s cold and wet) but also in the fundamental sense of the word. Lena has been “apart” from them. That’s how Lena thinks of it. They think Lena has been “away” from them. Now they are coming back into her life and they are bringing several bags full of bottles of booze with them.
Lena resists them. She sees herself being treated as “a charity case.” She is initially angry.
Lena “There’s nothing wrong with me.”
Yvonne “Well tough shite. We’re here now and I’m not going out in that rain again without a drink inside me. D’you want gin or vodka?”
After I had read The Keeper [1] several times, I began to see how similar the path was for Cal and Lena. Cal is taking the man’s path. He has a bunch of bodies with him and he is trespassing flagrantly on the property of the most powerful man in town. He makes the case against Tommy, checking for and receiving the support of the men of the community. He has become their leader and is therefore “inside.”
Lena is taking the woman’s path. She had rejected the life chosen by her childhood friends because they represent “them;” entanglement withon the community. She has gone it alone and no argument has been able to change her mind. But this is not an argument; this is an invasion. Her closest friends from “back then” have come into her house and their claim on her attention is that they are “here.”
And so is she.
Lena “I never fuckin’ asked for any of this. All I ever wanted was to be left to mind my own fuckin’ business.
Sheila Reddy “I know, yeah. You’re here now, but.
“Lena feels like the room has gathered itself together, given itself a shake, and thumped into solidity. This isn’t a fairy-tale haven. The warm glow of it is real, and so is everything it carries, the ties and the weights. No one dragged her here. By whatever strange knotted route, this is where she’s come to.”
I have done some damage to French’s marvelous plot to slice it up this way: one way for Cal and another for Lena. On the other hand, I think French dropped the word “here” into those two places—one for him, one for her—on purpose and I think she wanted to say that they work the same way. None of Cal’s arguments against Tommy has the clout of standing with a bunch of angry locals in Tommy’s living room and saying that the “appointment time” is now because we are here now. None of Lena’s arguments that these women represent being “entangled in Ardnakelty” has been invalidated, but the women are “here” now and eventually, Shiela points out to Lena that Lena is “here” also.
[1]. The Keeper, from which these ideas were taken, is the third of French’s trilogy.



