63 pages • 2 hours read
Louise PennyA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Penny begins with a brief account of the Roman Catholic Church’s music policy in the 19th century. The Divine Office, the ancient devotional practice of chanting psalms eight times per day, was losing popularity, even with religious orders. The monk Dom Prosper, devoted to reviving the practice, faced a logistical challenge: the chants “were so old, more than a millennium, that they predated written music” (1). Dom Prosper believed that manuscripts must have existed to teach medieval monks the Divine Office. Early musical notation didn’t name notes and instead only signaled to the vocalist whether to go up or down from a starting pitch, an unknown note known as “the beautiful mystery” (2).
No manuscript was ever found that indicated the precise starting pitch. Though Dom Prosper took some joy in the revival of the chant, he died knowing his work was incomplete: “At the very end of his life, Dom Prosper knew there was a beginning. But it would be up to someone else to find it. To solve the beautiful mystery” (4).
The chapter opens at the monastery of Saint-Gilbert-Entre-les Loups—or “Saint Gilbert among the Wolves”—in remote Québec, Canada. The abbot surveys the monks under his care and sees the conflict among them: “facing each other across the stone floor of the chapel, like ancient battle lines” (5). In a monastery with a vow of silence, someone clearing their throat reminds the Abbot that he must begin the day with the Angelus bells, rung at 6 a.m.
Jean-Guy Beauvoir, second in command to Armand Gamache, head of homicide for the Sûreté du Québec, the province’s police force, is having breakfast with his partner, Annie Gamache, his boss’s daughter. Annie recalls that her father gave her mother’s parents a bathmat when he first met them, which became a family joke. Beauvoir, also joking, presents Annie with a toilet plunger for their anniversary—they have been a couple for three months. Annie realizes Beauvoir must already know this family story from his long stakeouts with her father.
Beauvoir values Annie’s empathy, in contrast to his less open communication with his former wife. He has known Annie since her adolescence, and is devoted to her father, who does not yet know of their relationship. They are not yet ready to tell Annie’s parents they are together. Annie has no doubts, but Beauvoir is privately uncertain whether Annie’s parents will approve. Annie assures him they think of him “as another son” (10), and laughs at the idea of surprising her father, the ace investigator, with information he has missed.
Beauvoir’s phone rings. Gamache tells him they have a new case, which usually brigs on strong emotion, as he values working with his boss, but this day is different: “Beauvoir loved his job. But now, for the first time, he looked into the kitchen, and saw Annie standing in the doorway. Watching him. And he realized, with surprise, that he now loved something more” (11). He says goodbye to Annie, and both of them regret the sudden parting. Privately, Annie feels a new kinship with her mother, knowing that such departures are something they now share.
The chapter opens with Beauvoir on the open water, in a small fishing boat. Beauvoir reflects on the fisherman steering, the routine joys of work, and decides that investigating is an acceptable alternative to being with his beloved Annie. A local Sûreté officer, Captain Charbonneau is with them. Charbonneau is curious about Gamache, whose reputation clearly precedes him. Beauvoir is in awe of his boss: “When others stopped, Gamache stepped ahead. Looking into cracks and crevices and caves. Where dark things lived” (17). He worries that he will not be accepted into the family.
As the two men fly on a plane to the remote north, Beauvoir realizes Gamache is listening to music. The plane takes them deep into the remote forests of the province, only to wind up on another boat to their final destination. The experience is emotional: “Beauvoir felt a frisson of excitement. Millions had searched for this place. Looking all over the world for the reclusive men who lived here […] the near mythical monastery of Saint-Gilbert-Entre-les-Loups” (20). The order has avoided all contact with the outside world, but a murder has now disrupted that peace.
The boatman is skeptical that they monks will allow the homicide team in. Beauvoir knocks on the heavy door and Gamache announces himself and his purpose. Beauvoir, unnerved by the forest surrounding them, reminds himself that his boss has a head for psychology, and that his fears of Armand rejecting his relationship with Annie are as baseless as his other fears. Charbonneau, the local officer, is also impatient. Gamache, unlike the others, waits calmly as the door is opened. The monk they meet is dressed singularly: “facing them was a figure in a long black robe. But it wasn’t totally black. There were white epaulettes at the shoulders, and a small apron of white partway down the chest” (23).
Gamache is surprised to find the hallway filled with light from large windows above, that makes rainbows on the floor; he calls it “walking into joy” (24). As they enter the abbey church, Gamache sees monks in silent rows, praying. Gamache’s guide is a much younger man than Gamache had expected, and Gamache reminds himself that prejudices have no place in his work. The young monk is obviously distraught but knocks on another heavy door, which opens to admit them.
Penny’s Gamache series is notable for its grounding in history and contemporary politics. Dom Prosper, the monk in the prologue, was a real person, as was his effort to revive Gregorian chant within Catholicism. Gamache and Beauvoir, while fictional, exist in a modern universe: a world of technology, anxieties about the self, and the search for meaning at work and in personal life. The fictional Gilbertines, in contrast, live a quasi-medieval existence, serving God according to Catholic tradition and doing their best to leave the modern secular world behind.
The novel will be a trial of the relationship between Gamache and Beauvoir. As they travel, Beauvoir fixates the recent scar on the forehead of his boss and mentor, emphasizing that both investigators are bringing their past with them to the remote monastery. Beauvoir idolizes Gamache, who promoted him from relative obscurity and has supported him personally and professionally for years. His self-doubt is partly due to events from previous installments in the series: in Bury Your Dead, Beauvoir and Gamache were seriously wounded in an attempt to end a hostage situation, and the video of their near-death experience went viral. Now Beauvoir struggles with his physical injuries and with recovery from a dependency on prescription painkillers. As will become clear later in this work, he is also still particularly haunted by Gamache leaving him behind during the shooting to rescue the hostage. Beauvoir’s doubts whether Gamache values him as a person in the aftermath of this past.
The novel explores the conflict between modern life and strict religious observance. By choosing to invent a fictional version of an extinct religious order, Penny gets the freedom to explore themes like the nature of authority and the consequences of secrecy without having to account for a real order’s current politics and situation. Beauvoir is uncomfortable going to the remote home of monks because he, like most Québécois, is culturally Christian but otherwise secular. Gamache is surprised that the monk who welcomes them is young, as this challenges his ideas about who would be drawn to such a lifestyle. Nevertheless, Gamache is clearly more connected to Christianity than Beauvoir, as evidenced by his favorite quotation from the New Testament’s Book of Matthew—“And a man’s foes […] shall be they of his own household” (14)—something Gamache cites often, especially as he battles police corruption. The struggle for peace inside a community will become an important part of this novel.
By Louise Penny
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