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61 pages 2 hours read

How the Light Gets In

Fiction | Novel | Adult | Published in 2013

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Chapters 4-6Chapter Summaries & Analyses

Chapter 4 Summary

Gamache and Lacoste arrive in Three Pines and visit Myrna’s bookstore, which has the “feel of a well-used library in an old country home” (25). Myrna is surprised that they have come in-person to respond to her message. When she asks where Inspector Beauvoir is, she seems to know that there is more to the story than Gamache’s response that “he’s on another assignment” (27). Myrna, who was a suspect in one of Gamache’s previous cases, has become a friend.

Constance was supposed to arrive the day. She called Myrna to say that she was getting ready to leave for Three Pines and Myrna hasn’t heard from her since. While it is too early to open an official dossier, Gamache reassures Myrna that she did the right thing to go looking for her. While Myrna quickly describes her friend, she is hesitant to reveal Constance’s full name: Constance Pineault (though her real name is Constance Ouellet). After racking his brain, Gamache remembers an image of a famous young girl by this name. Lacoste calls traffic control but cannot find any accident reports. Remembering the car accident from that morning, Gamache calls the Montréal police. Chief Inspector Brault says that the woman in the accident was Audrey Villeneuve, who worked as a senior clerk in the Ministry of Transport. She appears to have died by suicide.

Chapter 5 Summary

Gamache and Lacoste return to Montréal. Gamache sees the spot where Audrey Villeneuve jumped from the Champlain Bridge and realizes her family will have been told by now. Gamache thinks that telling families that their loved one has died is “a sort of murder” in its own sense (35). At Constance’s home, Gamache notices that hers is the only house with unlit Christmas lights. When no one answers the door, they inspect the house. Through the bedroom window, they see an elderly woman’s body. They call the Montréal police and wait for them to take over the investigation. When the agents arrive, they are shocked to see Gamache, the famous inspector that any police officer would want to work with—except for his current agents. Gamache explains to his colleague, Marc Brault, that the woman is Constance Ouellet. Brault is shocked and asks if she is “the last one” (40). Examining the scene, they determine that she was struck with a lamp. Either the murder was premeditated, or the murderer was familiar with the room. Gamache wonders if the murderer knew who Constance was. Brault is overwhelmed, admitting that his team is swamped. Gamache offers to take the case over, since he isn’t leaving for Paris for a week. Brault asks if Gamache is going to resign, admitting that he would have by now. Gamache asks if Brault would wonder why “if your bosses wanted you out that badly” (43). Brault encourages Gamache to take retirement and enjoy Christmas with his family in Paris. In Three Pines, Myrna tells Clara that Constance’s real last name was Ouellet. Like everyone else who hears the last name, Clara is dumbfounded. She says that she thought “they were all dead” (42).

Chapter 6 Summary

Gamache and Lacoste pick up Gamache’s German Shepherd, Henri, before returning to headquarters. At the Sûreté, they run to catch the elevator before realizing that Jean-Guy Beauvoir is inside, clicking the “close” button to no avail. Lacoste quietly studies Beauvoir and feels rage radiating from him. When Beauvoir was her mentor, he was “energetic, frenetic at times” (46). He and Gamache had a unique bond, and Beauvoir dated Gamache’s daughter, Annie. Henri passes gas in the elevator and looks up at Beauvoir. As they exit the elevator, Henri licks Beauvoir’s hand, and Beauvoir recoils. Gamache could have stopped Henri but allowed the “small kiss.” When Gamache looks at his empty department, he remembers when it was full of eager, hardworking agents. He knows that the pain he felt in the elevator was great enough to cause someone to take a life. He tells Lacoste to go home, and that he and Henri will head to Three Pines. Gamache remembers the factory raid in which he and Beauvoir were shot, and Lacoste saved them. She had held his head as he whispered his wife’s name, Reine-Marie. Many agents died that day. Although Beauvoir survived, Gamache knows that while Beauvoir entered the factory, “something else had come out” (50).

When Beauvoir gets off the elevator into his new department, agents scowl at him for the stink. His new boss, Chief Superintendent Francoeur, doesn’t even look up when the agents enter his office. Francoeur is important and well-connected. Unlike Gamache, he doesn’t care how his agents complete work as long as they get it done. Beauvoir appreciates that the agents can “decide who was who, know what to do about it” (49). Beauvoir tries to rub Henri’s lick off his hand and thinks about “the things he should have said, could have said, to his former Chief” (50). Francoeur notes that some drugs went missing from the evidence of the team’s last raid. Beauvoir is anxious until Francoeur has it removed from the case file. The team has been feeding rival gangs information on each other, allowing them to kill each other off. One raid backfired, killing a seven-year-old girl. Francoeur’s second-in-command, Tessier, recommends they carry out another raid. As they leave, Francoeur hands Tessier a pill bottle and tells him to put Beauvoir on the raid. Tessier gives the bottle to Beauvoir, who has already taken OxyContin that day.

Chapters 4-6 Analysis

These chapters further develop the contrast between good and evil. Francoeur is contrasted with Gamache, and the shelter of Three Pines is compared to the lonely environment of the Sûreté. In Three Pines, the characters eat comfort food and drink warm tea while talking. Even the three pine trees in the village square, which the town is named after, act as a windbreaker. This symbolizes what the village is: a shelter for people wind-battered by life. While Gamache could have returned Myrna’s message with a phone call, he wanted to go in person for his own sake as much as hers. Gamache is intent but weary. His hand tremors and the scar on his forehead are physical evidence of what he has gone through. He also has internal scars—his flashback to saying Reine-Marie’s name before losing consciousness as Lacoste saved him reveals that he still thinks of the factory raid. Gamache is worn down by the politics of the Sûreté. His sorrow for his dead agents and the living-but-lost Beauvoir is compounded by the sorrow from all the families whose loved ones have died.

While Gamache is weary, he refuses to stoop to the immoral behavior of Francoeur. Even if he and Lacoste are the only two in his department working, they are faithful in doing so. Despite Beauvoir’s betrayal, Gamache allows Henri to kiss his hand, a small gesture of kindness. Francoeur not only doesn’t appreciate his agent’s allegiance, but he also manipulates them to maintain control. While Gamache respects Lacoste, Francoeur cuts off Tessier, insisting that he “doesn’t care” what his agents do as long as they “get it done.” He doesn’t just look over Beauvoir’s addiction but feeds it, knowing it will vicariously affect Gamache.

Penny uses reverse dramatic irony in these chapters, as the characters in the novel all know something about Constance Ouellet that the reader doesn’t. The characters all react to her last name similarly: first they are puzzled, then they are shocked, and many of them wonder how she was still alive. By portraying Constance’s fame as so obvious a fact that the characters don’t need to talk about it, Penny makes the reader more anxious to discover Constance’s true identity. Myrna’s trepidation to reveal Constance’s name, combined with Constance’s nondescript home, make it clear that Constance didn’t want anyone to know who she was. While examining the crime scene, Gamache is surprised when they find “evidence of a personal life, but not of a past” (40). The reader has to wait for someone in the book to finally explain Constance’s past as a famous quintuplet to make sense of these comments.

While Constance’s identity is hidden with “reverse” dramatic irony, the importance of Audrey Villeneuve is classic dramatic irony, where the reader knows something that the characters do not. The reader knows that she was burdened with a horrible secret and immediately suspects that her death was not by suicide. While Gamache and Lacoste drive right by the scene of her death, and Gamache even discusses it on the phone with Brault, none of them understand her significance to the broader political plot in the novel.

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