62 pages 2-hour read

Glass Houses

Fiction | Novel | Adult | Published in 2017

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Chapters 8-14Chapter Summaries & Analyses

Content Warning: This section of the guide includes discussion of death by suicide, illness, substance use, and graphic violence.

Chapter 8 Summary

During a heat wave, Judge Maureen Corriveau, who is married to Joan, arrives at the sweltering courtroom where the air-conditioning has been turned off. Zalmanowitz recalls Gamache to the stand. Judge Corriveau notices the defendant staring at Gamache with an intense expression that only she and Gamache seem to catch. She suspects it is not a plea for mercy but a plea for silence and wonders if a deal has been struck. When the Crown asks whom Gamache suspected the cobrador had come for, the defense objects, and Judge Corriveau sustains the objection.


The narrative flashes back to a cold, rainy November evening in the Gamaches’ living room. Ruth Zardo, holding her duck, Rosa, wonders whom the conscience has come for. Myrna cites Shakespeare on the quiet of a clear conscience, suggesting the figure is there because someone in the village lacks one. Ruth challenges the group; her gaze lands on Armand, who envisions the young Sûreté recruit whose death resulted from his wrong decision. Ruth confesses that as a child, she and her cousin fell through thin ice. Her mother could save only one; though she reached for the cousin, Ruth grabbed her hand instead and was pulled out. The family moved to Three Pines when relatives blamed them for saving the “wrong” child. Others share burdens: Gabri abandoned a friend with HIV, one of Myrna’s patients died by suicide after a drug reaction, Clara disobeyed Armand’s orders, and Olivier cheated people. A commotion erupts on the village green, and they rush outside, leaving Ruth struggling in her chair until Clara returns to help her.

Chapter 9 Summary

On the village green, a large man named Marchand, a member of a local road crew, threatens the cobrador with a fireplace poker. The crowd eggs him on. As Gamache tries to de-escalate, Lea steps between Marchand and the figure. Gamache joins her, and Anton, Clara, Myrna, Gabri, Olivier, and Ruth form a human shield. Lea argues that the cobrador has done no harm and that they are teaching their children to be afraid. Gamache calmly holds out his hand for the weapon. Marchand hesitates but then lowers the poker, which Gamache takes.


As the mob disperses, Gamache stops Marchand. Sûreté agents arrive, initially focusing on the cobrador until Gamache redirects them to Marchand. Gamache searches him and finds a pouch containing two fentanyl pills. He instructs the agents to hold Marchand overnight and send the pills to the lab. Back home, Gamache tells Reine-Marie he spoke to the cobrador, asked whom it was there for, and told it to leave. They agree it will not leave yet. Following the figure’s gaze, Gamache sees it staring into the bakery where Jacqueline is visible before she turns back to her work.

Chapter 10 Summary

At the trial, Zalmanowitz aggressively questions Gamache about not acting after the death threat against the cobrador. Gamache suspects Marchand was manipulated to scare the figure away, not kill it, and links the fentanyl to the cobrador’s purpose. Judge Corriveau reprimands the Crown, noting that Gamache is not on trial. The Crown asks about Lea Roux’s intervention, suggesting a political stunt. Gamache counters that a populist would have sided with the mob, not the outsider. He says Lea has a reputation for principle, though he notes that appearances can deceive.


The narrative flashes back to the evening of the confrontation with the cobrador, when Reine-Marie invites Lea and Matheo for dinner. They learn village visitors Katie and Patrick Evans missed the event, having dined in Knowlton. Over the meal, they discover that the delicious stew, brought by Olivier, was made by Anton the dishwasher with foraged ingredients. Gamache asks Lea about her first bill in the National Assembly. She incorrectly recalls it as concerning emergency wards; Gamache corrects her that it was an anti-drug initiative. He explains that it failed partly because she named it after Edouard, making it seem personal. Matheo reveals that Edouard was their university roommate who died by suicide, jumping from a residence roof while high. Gamache offers to work with Lea to reintroduce the bill but notes her polite yet uninterested response, causing him to wonder why she would forget her priority bill.

Chapter 11 Summary

The next morning, the cobrador is gone from the village green. Gamache watches his dogs, Henri and Gracie, play. Myrna joins him, and they express relief, speculating that Paul Marchand scared the figure off. Gamache reasons it must have achieved its goal or would not have left. They discuss T. S. Eliot’s poem “Little Gidding,” with its refrain that all shall be well; Myrna notes that peace comes only after a dreadful cleansing and thinks of the villagers as people who came to Three Pines to heal.


Gamache recalls his granddaughters playing Ring Around the Rosie where the figure stood. Reine-Marie had told him the rhyme originated during the Black Death. His mind links the rhyme, the plague, and the fentanyl from Marchand’s pocket. Ruth appears with Rosa, saying she went to the church to escape the Archangel Michael. She tells them she prayed for her enemies, for world peace, and for Lucifer, explaining that the fallen angel was once luminous and most in need of prayer. Ruth posits that conscience can be warped to justify appalling acts. As she leaves, she adds that sometimes all is not well.

Chapter 12 Summary

Gamache returns to Sûreté headquarters in Montréal and has lunch with Superintendent Madeleine Toussaint, the new head of serious crimes and the first woman and first Haitian to lead a Sûreté department. When Toussaint says her department needs more resources, Gamache urges using existing ones better and encourages her to reinvent the unit, reminding her he chose her for her integrity. Toussaint reflects on her husband, André’s, cynicism; he believes that she was appointed as an expendable scapegoat. Gamache acknowledges that the situation is untenable and says the war on drugs is lost. He challenges her to think of a solution, and she replies that the force must change.


When he agrees, Toussaint, surprised, nearly calls him old guard; he replies that someone has to be “expendable.” She realizes Gamache has positioned himself as the scapegoat, not her. Their predecessors’ corruption, he says, provides an opportunity to reinvent everything while appearing to change nothing. He admits he lacks a plan and needs ideas. Gamache recalls accepting the chief superintendent job after Reine-Marie told him the story of Odysseus’s retirement, which Gamache him to realize his own battle was not over. Toussaint says they must commit fully and burn their ships. The phrase strikes a chord with Gamache, who scribbles on a napkin and declares they will burn the ship rather than repair it. Toussaint leaves reenergized, though with concern about Gamache’s hint of “madness.”

Chapter 13 Summary

Gamache meets with Inspector Jean-Guy Beauvoir to discuss a Sûreté ceremonial drill team for community outreach, which Gamache approves. Beauvoir complains about his new glasses, which his son bent; Gamache adjusts them. A lab email confirms the drugs found on Paul Marchand are fentanyl just as Reine-Marie calls, telling Gamache she has found the cobrador dead in the church basement. There is blood, and she touched the body to check for a pulse. Gamache asks her not to wash her hands so as to preserve evidence. Jean-Guy immediately calls Chief Inspector Isabelle Lacoste. They race to Three Pines with sirens on, and Jean-Guy observes he has rarely seen Gamache so desperate and enraged. At the trial in the present day, the Crown snidely praises Gamache for putting his job before his wife’s comfort.


Back in the past, Gamache arrives at Three Pines and finds Reine-Marie with Clara and Myrna. He avoids touching her until Jean-Guy has taken samples and photos of the blood on her hands. Afterward, Gamache embraces his wife and helps her wash. He notices blood caught in her wedding ring, and she gives him the bloody church key. Gamache learns Paul Marchand was released at 10 o’clock that morning and tells an agent the pills Marchand had were fentanyl. Gabri intercepts them asking for information, but Gamache cannot provide any. Gabri heads off other approaching villagers.

Chapter 14 Summary

Chief Inspector Isabelle Lacoste and the scene of crime team arrive at St. Thomas’s Church. A forensics agent processes the bloody church key, which Gamache then gives to Lacoste to unlock the church. He briefs her that Reine-Marie found the cobrador’s body in the basement at approximately 1:45 pm. Lacoste and her team enter. Gamache pauses, watching the villagers clustered outside the bistro as sleet begins to fall. They enter the dated church basement and find the root cellar, a small windowless room where the body lies motionless and hulking in the black robes. The coroner arrives and notes the victim is wearing a mask.


At the trial in the present day, video of the crime scene is played after a warning about its graphic nature. The footage shows the team in the root cellar. The camera closes in on the cracked mask as Lacoste announces she is removing it. Most spectators look away. Judge Corriveau forces herself to watch, and a defense lawyer looks at the defendant with revulsion. In the video, Lacoste removes the mask, revealing the victim is not a man but a woman. Gamache, surprised, identifies her as Katie Evans, who was staying at the bed-and-breakfast. A bloody bat, the apparent cause of death, is propped against a shelf. The video captures Gamache’s bewilderment as he looks back into the root cellar.

Chapters 8-14 Analysis

These chapters further establish the novel’s interest in conscience, particularly as opposed to The Moral Failures of the Law. The gathering in the Gamaches’ living room serves as a confessional, where the cobrador’s presence draws out private guilt. Each character’s shame—from Ruth’s childhood survival at the expense of her cousin to Gabri’s abandonment of a sick friend—illustrates a burden of conscience that exists independently of legal transgression. Gamache’s own memory of the young recruit whose death resulted from his decision reveals that even the story’s primary agent of justice is haunted by personal failing. Myrna’s citation of Shakespeare, that a clear conscience is “[a] peace above all earthly dignities” (89), underscores the idea that peace is an internal state (and one the silent figure has disturbed) rather than something secured by law or force. The scene demonstrates that public justice, the focus of the courtroom frame narrative, is only one facet of morality; personal accountability matters.


The cobrador’s meaning deepens as it becomes a catalyst for conflict. The confrontation on the village green, where Paul Marchand leads a mob, dramatizes how fear of judgment can corrupt a community. The villagers become a threatening force, “infected by fear. Warped by it” (95), illustrating the fragility of civility. Lea Roux’s intervention, placing herself between the mob and the figure, is a principled defense of the outsider against this populist rage. The episode therefore functions as a moral test, sorting individuals based on their response to the unknown, which in turn transforms the symbolism of the cobrador; no longer merely a representation of a single person’s guilt, it becomes a mirror reflecting the collective character of Three Pines. Its presence forces the community to confront its capacity for both compassion and violence, exposing the volatile interplay between individual fear and mob mentality.


Simultaneously, the narrative deepens its exploration of The Deceptive Nature of Appearances through the parallel characterizations of Armand Gamache and Lea Roux. Gamache’s internal struggles with guilt humanize him and complicate his role as an arbiter of justice. His interaction with Lea, meanwhile, introduces ambiguity regarding her character. He publicly praises her reputation for being “principled” yet privately questions her memory lapse regarding “Edouard’s Law,” her own anti-drug bill. This discrepancy suggests her public persona may be a cultivated image and prompts a re-evaluation of which actions—her defense of the cobrador, her discussion of legislation, etc.—are genuine and which are staged. This foreshadows a collision between her hidden personal history and her political ambitions, linking the theme of appearance to Unresolved Guilt and Self-Justified Justice.


Symbolism connects the mystery in Three Pines to the broader social crisis of the opioid epidemic. Gamache’s mental association of the rhyme “Ring Around the Rosie,” its origins in the Black Death, and the fentanyl discovered on Marchand links the two. He thinks of the drug as “The plague,” expanding the narrative beyond a murder plot into a commentary on a modern public health catastrophe. This linkage suggests the crime is a symptom of a larger societal sickness. Ruth Zardo’s theological musings deepen this connection. Her argument that she prays for Lucifer, the “Son of the Morning” (110), and her assertion that conscience can be “a great excuse for appalling acts” (110), provides a framework for understanding a killer’s motivations. She posits that terrible crimes can be born from a corrupted, self-justifying righteousness, blurring moral lines and foreshadowing a killer who may not see themselves as wrong.


With the revelation of Gamache’s secret operation, the novel pivots from a traditional whodunit to a complex police thriller. His meeting with Superintendent Toussaint, where he unveils his plan to “burn the ship” of the corrupt Sûreté, reframes the narrative. The murder investigation in Three Pines is thus contextualized as one element within a larger gambit to expose a drug cartel. The discovery of Katie Evans’s body is not just the inciting incident for a homicide case but also a complication in Gamache’s secret war. The final scene, where the courtroom video captures Gamache’s “expression of extreme bewilderment” (133), is a key narrative element. Given his larger plan, the video raises the possibility that his shock is partly performative, one of the deceptions he may use to manipulate both the killer and the justice system to serve his ultimate goal.

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