A mother of two little girls, Chloé is devastated by her husband Adrien’s abrupt announcement that he is leaving her – taking a flight to be with a mistress of whose existence Chloé has been totally unaware.

Surprisingly, Chloé seeks the support of Adrien’s parents, despite the fact that her father-in-law Pierre seems unlikely to be sympathetic – an undemonstrative man whom Adrien and his sister Christine have always criticised for his harsh, uncaring treatment of them as children. It therefore appears odd that Peter should insist on driving Chloé to the family’s holiday home where she may feel calmer. I suspected that this would be the cue for an imprudent romance between the unlikely pair. Far from this, Pierre uses their seclusion as an opportunity to unburden himself to Chloé. He confesses to a passionate longstanding affair which he had to give up years earlier out of a sense of obligation to his wife, who refused to divorce him since it would have meant a loss of material benefits and status. His message to Chloé is that, in abandoning her, Adrien is not only displaying a courage which his father lacked, but also giving her the freedom to embark on a new life.

It seems that the author had experienced a recent divorce, so that perhaps the writing of the novel was cathartic. However, Pierre’s argument seems both overly simplistic and highly debatable.

This debut novel by Anna Gavalda which has proved the first in a string of bestsellers, is distinctive in being written in a play-like format, almost totally dialogue, with no real plot and little context. The downside of this is that, too often, one has to stop and check who is speaking. Otherwise, it’s a relatively easy read for someone learning French. However, the lack of context and action reduces one’s ability to engage with any of the characters.

Situations are gradually revealed or implied through the dialogue, until roughly halfway through, Pierre becomes the main character, indulging in a monologue of “telling” which becomes tedious in its repetition. Meanwhile, Chloé’s plight recedes into the background and is left unresolved.

Initially, Chloé’s emotions are portrayed realistically, together with her relations with her children. Pierre seems a less convincing character. Many of the situations described seem somewhat clichéd.

Made into a film in 2009, this tale may have found a more effective format, but the novel lacks depth and one does not feel much sympathy for any of the characters when it reaches its limp conclusion.