A Better Man

Louise Penny

69 pages 2-hour read

Louise Penny

A Better Man

Fiction | Novel | Adult | Published in 2019

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Chapters 23-29Chapter Summaries & Analyses

Content Warning: This section of the guide includes discussion of substance use, physical abuse, pregnancy termination, and death.

Chapter 23 Summary

In the car, Lacoste reviews Cloutier’s Instagram findings exposing Tracey’s private account. At Gerald Bertrand’s bungalow in Cowansville, Lacoste and Cloutier meet the construction worker, who is holding his infant niece. Bertrand denies knowing Vivienne Godin or Carl Tracey. He explains that a distressed woman repeatedly called his number on Saturday, but he assumed it was a wrong number and deleted the messages.


Bertrand provides an alibi—babysitting until six, then watching hockey with friends—and shows them his legally owned, secured rifle. He is horrified to learn that the caller and her baby were murdered. Cloutier notes that he could be either innocent or dangerous.


Gamache receives a call from the RCMP confirming that opening the dam spillways to manage the province-wide flooding appears to be working. He and Beauvoir meet Simone Fleury, who runs local women’s shelters, at a café. Fleury is hostile, particularly toward Beauvoir. She reveals that her organization receives 26,000 calls annually, most from women who never give their names or leave. She explains the complex reasons women stay in abusive relationships and criticizes the police for failing to arrest abusers. As they leave, Beauvoir reflects on how his training has conditioned him to see threats everywhere and realizes he must escape the Sûreté before it damages him further.

Chapter 24 Summary

The team returns to the incident room. Gamache privately calls Cameron’s former team, the Alouettes, and learns that Cameron was released from the football team for excessive holding penalties, not roughing. Lacoste reports that Gerald Bertrand’s alibi checks out, and he appears truthful. The team discusses why Vivienne kept calling the same wrong number, concluding she likely wrote it down incorrectly. Beauvoir refuses to eliminate Bertrand as a suspect and orders surveillance.


Cloutier reveals her work on Tracey’s Instagram account and her connection with his website manager, Pauline Vachon, to Gamache and Beauvoir. The posts show the affair and include incriminating messages from the day of the murder. The team believes this proves premeditation.


Gamache wants to release Homer, but Beauvoir worries he will try to kill Tracey. Gamache argues that holding Homer longer will increase his rage rather than cool it. Beauvoir agrees, and Gamache offers to let Homer stay with him. Cameron reports that Tracey bought abortion drugs. Beauvoir presents his theory: Tracey beat Vivienne, left to get drunk, returned to find her calling for help, then followed her to the bridge and pushed her off.


At Clara’s studio, art critic Dominica Oddly arrives. Ruth reveals that she invited her to Three Pines, hoping Oddly would defend Clara’s work. Instead, Oddly reveals she has attended all Clara’s shows and initially hated her work but slowly came to appreciate Clara’s subversive vision. However, she declares Clara’s latest miniatures appalling, cowardly, and insulting—a betrayal of her talent. She gives Clara a copy of her review, due to be published, sharply condemning the new work.

Chapter 25 Summary

Gamache and Cloutier release Homer. Gamache insists Homer stay with them in Three Pines rather than go home alone. Homer initially refuses, worried that when he kills Tracey, it will reflect badly on Gamache. Eventually, Gamache persuades him by appealing to their shared connection as fathers.


Beauvoir sits at his desk, checks his gun, and reflects on how the weapon has begun to feel heavy and foreign, wondering when Gamache stopped carrying one. He recalls the moment he shot Gamache (in a previous novel) and feels a wave of revulsion. He knows it is time to leave police work.

Chapter 26 Summary

Gamache, Beauvoir, and Cameron track the drug dealer who sold the pills to Tracey to an apartment building. The situation escalates into a tense standoff in an alley with a 15-year-old named Toby, who points a gun at Beauvoir. During the confrontation, another teen takes Beauvoir’s gun. Beauvoir de-escalates the situation by sharing his own past trauma and convinces Toby to surrender without violence.

Chapter 27 Summary

Lacoste interrogates Pauline Vachon, who appears younger than her social media photos suggest. She wears inexpensive makeup and discount clothing but carries herself with self-possession. Vachon admits to being Tracey’s web designer and confirms their affair through photographs but claims ignorance about the murder. Lacoste tells her Vivienne was pregnant and asks who the father was. Vachon, believing Tracey—who claimed the baby was not his—expresses sympathy for him.


Meanwhile, Toby and Daphne, the teenage drug dealers, are being booked. Toby mentions the viral video of Gamache killing children. Beauvoir searches online and finds both the doctored video and the original raid footage, posted anonymously, he assumes by Ruth. Reine-Marie, with friends in Myrna’s loft, views the videos and feels sick. The station commander has also seen them. Chief Superintendent Toussaint watches at her desk, feeling physically ill at images that could be her own son, and composes a response.


Gamache calls the families of officers killed in the raid to warn them that their loved ones’ deaths are being displayed publicly again. He absorbs their rage and anguish. When alone, he breaks down, remembering holding a dying young agent. Beauvoir stays with him through the calls, refusing to leave him alone.

Chapter 28 Summary

Lacoste questions Vachon about the abortion drug, which Vachon admits buying for herself after becoming too ashamed to return to her doctor. She told Tracey about it when Vivienne became pregnant, claiming it was none of her business what he did with the information. Lacoste reveals that she was pregnant again when she died. Vachon is surprised, saying that her drug purchase was last summer. The team realizes Tracey ended one pregnancy with the drug, but Vivienne became pregnant again—possibly the reason she finally decided to leave.


Vachon dismisses her affair with Tracey as meaningless. When Lacoste reads the incriminating Saturday posts, Vachon claims they were about clay and pottery purchases. Lacoste warns her that she will be charged with murder unless something changes, and outside, she tells Beauvoir that they can likely turn Vachon. The coroner confirms the fetus was Tracey’s daughter.


Clara confronts Dominique Oddly with the review of her work. Oddly confirms that she believes Clara has become lazy. Clara protests, but Oddly asks if she is certain. Oddly walks through Three Pines, expecting a quaint imitation of France but finding something genuine and authentic. The bistro particularly impressed her, with its blend of contemporary and timeless elements, its warmth and history. By the time Clara finds her at the bistro, Oddly is contemplating whether to move to Canada.

Chapter 29 Summary

Cloutier drives Homer to Three Pines; when he squeezes her hand, she takes it as a moment of connection. At the Gamache home, Reine-Marie welcomes them, and Homer apologizes for hitting her. In the bistro, Clara is horrified to learn that Dominica Oddly’s flight has been canceled, and she will be staying the night.


Beauvoir and Gamache wait outside Tracey’s house. Cameron radios that the arrest warrant has arrived. Gamache suggests a ploy to tell Vachon that Tracey is about to be arrested. The plan works, and Vachon agrees to testify to save herself. Beauvoir and Gamache enter Tracey’s unlocked house and discover him passed out in a pool of vomit.

Chapters 23-29 Analysis

These chapters scrutinize Competing Notions of Justice When Institutions Fail, presenting alternative, extra-legal systems that emerge from perceived inadequacies within the official legal framework. Simone Fleury embodies this shift. Her dismissal of police procedure and her assertion that her shelter’s residents “take care of it” themselves position her organization as a parallel justice system born of necessity in the absence of legal support (217). Fleury’s methods, built on the support and training of women, represent a reactive and protective form of justice that operates in opposition to a state apparatus she views as ineffectual. Gamache occupies a more liminal space, bending institutional rules to serve a higher moral purpose. His detention of Homer and subsequent invitation for Homer to stay in his home are acts of personal, rather than institutional, custody. This approach prioritizes emotional containment and moral responsibility over legal protocol, acknowledging the system’s limitations in managing profound grief and rage. Beauvoir’s internal conflict, particularly his private admission that he would be tempted to let Homer kill Tracey, reveals that even those within the law enforcement system are not immune to the impulse to take matters into their own hands to ensure justice when legal outcomes do not align with perceived morality.


Thematic explorations of The Disparity Between Public Persona and Private Reality are amplified by the recurring motif of social media feeds, which functions as a primary engine for the novel’s examination of The Distortion of Truth by Public Opinion. Isabelle Lacoste’s observation that “[n]othing, and no one, on social media was as they seemed” (207) encapsulates this dynamic. Pauline Vachon exemplifies this; her inexpensive clothing and makeup contrast with the sophisticated online persona she projects to conceal her affair and obstruct the investigation. The doctored video of Gamache, which splices official raid footage with unrelated images of violence, represents an extreme form of this distortion. Public opinion, manipulated by a falsified narrative, overwrites the complex and traumatic reality of the event, reducing Gamache to a villainous caricature. The attempt to correct the lie by posting the original, unfiltered video only exacerbates the damage, demonstrating that even the “truth,” when stripped of context and thrust into the public domain, becomes another weapon in a war of perception.


The psychological toll of police work manifests in the diverging character arcs of Beauvoir and Gamache, highlighting Empathy as a Professional Liability. Beauvoir’s development is defined by a conscious retreat from the corrosive effects of his profession. His reflection that his service weapon, which formerly made him feel powerful, “had begun to feel foreign” signals an internal shift away from an identity predicated on the potential for violence (241). The tense standoff with the teenage drug dealer Toby becomes a pivotal moment, as Beauvoir de-escalates not with force, but with an act of empathy—sharing his own past trauma. This experience illustrates his growth and solidifies his need to escape a world where he is conditioned to see threats everywhere. In contrast, Gamache moves deeper into a role that absorbs the pain of others. He personally absorbs the anguish of the fallen officers’ families after the video leak and assumes paternalistic guardianship of Homer. For Gamache, empathy is both a potent investigative tool and an immense personal burden, blurring the lines between professional duty and personal responsibility.


The narrative structure reinforces these themes through the parallel developments in Clara’s storyline, setting the main criminal investigation alongside a subplot in the art world. In these chapters, Lacoste and art critic Dominica Oddly are foils, both charged with stripping away artifice to uncover a core truth. Lacoste methodically deconstructs Vachon’s web of lies and manufactured identity, while Oddly dissects Clara’s artistic output. Oddly’s scathing review of Clara’s miniatures—deeming them evidence of “not just a shocking lack of technique but an almost insulting lack of depth, of effort. They’re cowardly” (246)—frames artistic inauthenticity as a moral failing. This critique of a “betrayal” of talent runs parallel to the investigation’s focus on uncovering personal and criminal betrayals. By placing these plotlines in conversation, the narrative extends its examination of authenticity and fraudulence beyond the criminal case, exploring these ideas in arenas as disparate as a police interrogation room and an artist’s studio.

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