54 pages • 1 hour read
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In The Brutal Telling, Penny explores how appearances can be deceiving. There are many truths to a person because humans are complex. For example, Inspector Gamache intuitively decides that the victim found in Olivier’s bistro is unhoused. This deduction is based on the victim’s clothes, which are worn, frayed, and dirty. However, a laboratory analysis reveals the truth, that the victim is clean and healthy—suggesting he was not unhoused. This heightens the mystery of his identity because his interior doesn’t match his exterior.
Another example of this theme is the way Olivier is perceived throughout the novel. Olivier has a sterling reputation in Three Pines, known to be neighborly and wealthy. But under the surface, Olivier keeps secrets, even from Gabri, his partner. While Olivier is kind and generous, he is also dishonest and greedy. His relationship with the Hermit—Jakob—proves the lengths he is willing to go for money, highlighting his ability to manipulate. He takes advantage of Jakob’s paranoia and imprisons him in his cabin by using a mythological story as a scare tactic. This manipulation allows Olivier to keep Jakob’s wealth for himself. Furthermore, Olivier repeatedly lies to Gamache, finding ways to mislead Gamache’s investigation. In being dishonest, he proves he cares more about himself than the murder victim, which goes against the villagers’ belief in Olivier as virtuous. Again, appearances can be deceiving but not necessarily wholly wrong, as Olivier has layers.
As for Gamache, he necessarily follows leads based on available information—appearances included. For example, Vincent and Marc Gilbert are presented as prime murder suspects. Vincent’s sudden appearance at the same time that Jakob’s body is discovered is suspicious, as is Marc’s proximity to Jakob’s cabin. On the surface, Vincent and Marc both approach the murder in ways that imply they could very well be the murderer. And yet, neither of the men is guilty. Later, Gamache travels to the Queen Charlotte Islands, confident that the name of the islands and the red cedar forest they contain are relevant to his investigation. While Jakob likely spent time on the Queen Charlotte Islands, Gamache searches fruitlessly for proof—as the islands provide context, but not proof.
The mystery genre often plays with the concept of truth. In The Brutal Telling, Penny presents opinion and truth, questioning which is more powerful. The problem with opinions is that they can feel like truth. For example, the villagers of Three Pines have an opinion of Olivier and an opinion of Marc. They love Olivier and believe him to be kind and generous, whereas they don’t know Marc and are suspicious of his outsider status. These opinions lead the villagers to believe a truth about Olivier and Marc that is difficult for them to give up. Because their opinion is that Olivier is good, they have a hard time facing the truth of his wrongs. Because their opinion of Marc is that he’s too new to trust, they side against him, even when the truth of Olivier’s involvement with Jakob surfaces. For Olivier, the tension between opinion and truth helps him retain a support system when facing consequences. Gamache has a hard time getting to the truth because the villagers of Three Pines give opinions rather than truths. In Penny’s novel, this tension is human and not necessarily malicious.
Another example of this theme is the nature of investigation itself. An investigation seeks to uncover the truth, but detectives like Gamache must use their instincts and opinions to steer an investigation toward truth. For example, it is Gamache’s opinion that Roar Parra and his son, Havoc, are suspicious. Roar has been in the vicinity of Jakob’s cabin, and Havoc, as the last employee at Olivier’s bistro on the night of the murder, is just as suspicious. However, suspicions are opinions, and no matter the ties Gamache can logically make between the Parra family and the victim—including their shared national heritage—his opinion is inconsequential to the truth.
People voicing and spreading preconceived notions is another way in which opinion interferes with truth. Vincent Gilbert has worked hard to present himself as saintly. His book, Being, helped him develop a well-crafted public persona that prevents the world from seeing him as a neglectful husband and father. Many people—like Gamache, Myrna, and Old Mundin—see Vincent as altruistic and admirable, but he has many flaws. Though he’s made a career out of helping others, he also turned his back on his family, allowing his son to believe him dead for decades. His altruism is a fallacy, his book a vehicle for eliciting good opinions—with only his flaws revealing the truth of his nature.
The setting of The Brutal Telling is Three Pines, a small village community outside of Montreal. Due to its seclusion and small size, Three Pines is a tight-knit community. People move there to find a respite from stressful big-city lives, but Three Pines has a specific ethos and rules. Adhering to the village’s neighborly ethos ingratiates one to the tight-knit community. Due to the small size of the village, villagers know one another intimately. Ironically, intimate spaces breed more secrets. The closer the villagers become, the more they risk revealing secrets. For example, Olivier has a successful life in Three Pines, both professionally and personally. But the closer he gets to other villagers, the more he must protect his secret about Jakob. Olivier doesn’t want to betray his reputation or risk his relationships by revealing the truth. He is able to hide his flaws because the welcoming environment of Three Pines gives him ample opportunity to show his generosity instead.
As such, when Olivier is implicated in Jakob’s murder, the villagers stand by him. Even when he is officially accused of murder, his friends maintain his goodness. The safety of the small community provides unconditional love, a loyal support network, and the ability to tackle the challenges of the world together. However, not everyone benefits from this tight-knit community. For people who are considered outsiders, like Marc Gilbert, this small community suddenly becomes oppressive, not supportive. Marc and Dominique don’t ingratiate themselves with the villagers: They live apart from them because the old Hadley house is high on a hill, overlooking the rest of the village. Gabri goes so far as to confront the couple about their competing business, but this unspoken rule is not something they would know as outsiders. Overall, Three Pines is small and therefore exclusive; had the villagers been more inclusive with the Gilberts, tension between Marc and Olivier could have been avoided. On the other hand, the Gilberts could have done more to learn about the village. Several characters discuss the conflict of being considered an “outsider.” There is danger to being an outsider because fewer people will help or trust you, as Marc learns firsthand. Thus, in a small community, there is both safety and danger in tight-knit dynamics.
Three Pines may be idyllic, but its quiet makes it a prime location for evil. Because it is so secluded from larger towns and cities, it is easy for Jakob to disappear in the forest. For decades, no one but Olivier knows that Jakob and his cabin exist. Jakob himself was certain no one would bother him because people in small towns tend to fixate on their own town, not the outside world. Furthermore, people may think they can get away with more crimes in a place like Three Pines because there are few witnesses and no police department. Overall, Three Pines’ sheltered nature is its blessing and its curse.
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