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58 pages 1 hour read

Louise Penny

The Long Way Home

Fiction | Novel | Adult | Published in 2014

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Chapters 31-35Chapter Summaries & Analyses

Chapter 31 Summary

Gamache and the others drive with Marcel to his house near a river, somewhat outside of the main town. As the group chats over dinner, Gamache asks Marcel whether Noman’s group struck him as cult-like when he visited. Gamache notices the lack of detail Marcel provides about the group and the fact that he did not seem to show any curiosity about their art. Jean-Guy abruptly realizes that he asked the server, but not the bartender, where Vachon goes on his trip, and he hurries off to phone the bartender. Meanwhile, Gamache phones Ruth, talking with her about how she has long known that Peter did not have the courage to live up to his artistic potential and must have been tormented by watching the success of his wife. As Ruth brutally summarizes, “Some are born to be brilliant. Peter was. But he just couldn’t get there” (277).

Chapter 32 Summary

As Jean-Guy is trying to reach the bartender, Gamache gets a call from Reine-Marie, who has heard from the college. They could not find Norman’s file, but it turned out that one of their staff had pulled it at the request of someone else a few months ago. Gamache and Reine-Marie surmise that Peter may have gone to Toronto, requested the file, and then waited there while they looked for it. The staff member destroyed the original file but only after making electronic copies, which are now on their way to Reine-Marie. She has already learned that Norman requested his last paycheck be sent to Baie-Saint-Paul, indicating that he did indeed go there after losing his job. This would also explain why Peter headed there after looking at the file.

A short time later, Gamache and Jean-Guy get phone calls at the same time. Reine-Marie summarizes the file to Gamache, including Norman’s most recent contact address, while the bartender tells Jean-Guy where Vachon goes every year. The places are the same: a remote fishing village called Tabaquen, located on the Lower North Shore of the St. Lawrence River. With this information, Gamache now knows “where this all began […] and where it would end” (284).

Chapter 33 Summary

By early the next morning, the group is ready to depart for Tabaquen, a remote fishing village with no road access. Marcel insists on coming with them. They fly there on a small plane; during the flight, the pilot explains that he usually flies visitors only part of the way there. He usually drops them in the town of Sept-Iles, and they take a boat from there. Clara shows the pilot the photo of Peter from the yearbook (in which he is photographed with Massey). The pilot confirms that he recognizes the man, who is “tall, old, English” (292).

Clara abruptly decides that, if Peter went by boat, they should also go by boat and insists the pilot drop them in Sept-Iles so that they can retrace Peter’s journey. Jean-Guy disapproves of this idea, but Gamache reminds him that they agreed to let Clara make the important decisions. The group gets off the plane just in time to board a boat bound for Tabaquen. The voyage will take several days through notoriously dangerous waters.

Chapter 34 Summary

On board the ship, the group is surprised that no one recognizes the photo of Peter. They wonder if the pilot could have been mistaken or misleading them. One of the boat crew finally confirms having seen Peter and noticed that he seemed quiet and withdrawn. Comically, Myrna and Clara end up with luxurious accommodations while the men are put in much rougher conditions. At the first port, a town called Port-Menier, the group gets off the ship to ask if anyone has seen Peter. No one has.

Myrna has been thinking back to her surprise that the pilot was able to recognize Peter so quickly from an old photograph and has a sudden idea: both Peter and Massey were in the photo they showed to the pilot, and she wonders if the pilot had recognized Massey. Gamache quickly phones the pilot, who confirms that it was Massey he recognized. He had flown Massey to Tabaquen yesterday. They ask the pilot to come and pick them up, but he is unable to do so, so they must get back on the ship.

Aboard the ship, Clara is astonished that Massey did not tell them anything about going to Tabaquen. There is no way to know whether he was aware that Norman was there when he spoke with them. As Clara reflects, “It’s not just down the street, it’s half-way across the continent. You’d have to be pretty desperate” (306). Gamache hints that Marcel might somehow be involved with Noman’s cult, and that is why he insisted on going with them. Clara acknowledges that this is possible and tells Gamache that she is keeping an eye on Marcel as well.

Chapter 35 Summary

On the ship, Gamache receives a message from the police in Baie-Saint-Paul: the only thing the dogs have found at the former colony is a box containing empty cardboard rolls and a powder that has not yet been identified. They wonder whether the colony could have been a front for a drug operation and speculate that Massey followed Peter to Tabaquen either to confront Norman or to protect Peter.

The boat makes its way through increasingly rugged and remote territory consisting of “cold gray water, the hard gray stones, the thick gray clouds” (314). Meanwhile, the report has come back, and the powder found in the box is asbestos. Gamache recalls that he heard the art college had to do renovations because of asbestos found in its walls This event took place at the time when Peter and Clara were studying there. Gamache phones the college to ask if someone could have taken some of the asbestos. The staff admits that it could have happened but wonders why anyone would want a deadly substance.

Chapters 31-35 Analysis

In this section, the setting shifts again, becoming more remote, isolated, and ominous. Gamache, Clara, and their companions move literally further and further from Three Pines and symbolically further and further from security and peacefulness. The threat of violence has been foreshadowed throughout the novel but, as the group journeys towards Tabaquen, a violent confrontation seems almost guaranteed. Gamache reveals to Myrna that the European voyager Jacques Cartier initially named this region after Cain “the first murderer” because it is “a coast so forbidding, so hostile it was fit only for the damned” (313). This allusion establishes a foreboding and hostile setting and foreshadows a violent confrontation.

Because it now seems clear that Luc, Norman, and Peter have all gone to the same place, the mystery is more suspenseful. The change in setting to Tabaquen also develops the plot because it introduces further delays in the much-anticipated discovery of Peter’s whereabouts. By now, readers feel almost certain that something conclusive will be discovered in Tabaquen, but the long journey there heightens the tension and anticipation. By further isolating Gamache and his companions at the most crucial phase of the investigation, suspense also builds: if the situation does indeed become dangerous, they will have limited support and resources to fall back on. The ocean voyage furthers the allusions to Homer’s Odyssey, in which Odysseus voyages by sea to make his way home.

The suspense and mystery also deepen as Massey, a seemingly minor character, becomes more central. The information that Massey is traveling to Tabaquen reveals that he is somehow implicated in the mysterious dynamic between Norman and Peter. Nonetheless, at this point, Massey is still assumed to be traveling to Tabaquen with some benign intention. There is no reason why characters feel such faith and trust in Massey other than his seemingly warm demeanor and the perception that he resembles Gamache. Jean-Guy, who has never met Massey, blithely comments that “when [Massey] found out Peter might’ve followed No Man there, he might’ve gone to protect him. He sounded like that sort of man” (311). Much as paintings are misinterpreted in the text, characters are misinterpreted when individuals rely on surface-level assessments. Jean-Guy is wrong about Massey, but he confidently assumes that his perspective is correct.

A key plot development occurs with the revelation of asbestos buried under the site of the artists’ colony. The revelation of a potential weapon buried underground symbolizes the potential for violence hiding in the depths of individuals. Because the asbestos is found at the site of the colony, Gamache is misled into thinking that the asbestos originated there rather than realizing it arrived there. Once again, the investigation is led astray by a reversal of perspective and a misorientation toward the facts of the case.

Ironically, Gamache almost arrives at a correct understanding of the case when he recalls that asbestos had been found at the college and wonders if someone could have obtained the substance from there. He discards this line of investigation, however, because he is predisposed to see Norman as the villain, who has been using asbestos for nefarious purposes. Gamache quickly constructs a narrative in which Norman is “a sin-sick soul […] who smeared asbestos onto his own paintings” (323) because this narrative aligns with judgments and assumptions he has already formed.

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