The Brutal Telling (Chief Inspector Armand Gamache #5)

The Brutal Telling (Chief Inspector Armand Gamache #5) Page 76

“But he had three chairs,” smiled Lacoste. “Our man had only two.”

Only two, thought Gamache. But that was enough, and that was significant. Two for friendship. Did he have a friend?

“I think he might have been Russian,” she said, straightening up.

“Why?”

“There’re a few icons on the shelf here, by the books.” Lacoste waved behind her, and sure enough, in front of the leather-bound volumes were Russian icons.

The Chief frowned and gazed around the small cabin. After a minute he grew very quiet, very still. Except for his eyes, which darted here and there.

Beauvoir approached. “What is it?”

The Chief didn’t answer. The room grew hushed. He moved his eyes around the cabin again, not really believing what he saw. So great was his surprise he closed his eyes then opened them again.

“What is it?” Beauvoir repeated.

“Be very careful with that,” he said to Agent Morin, who was holding a glass from the kitchen.

“I will,” he said, wondering why the Chief would suddenly say that.

“May I have it, please?”

Morin gave it to Gamache who took it to an oil lamp. There, in the soft light, he saw what he expected to see, but never expected to hold in his own hands. Leaded glass, expertly cut. Hand cut. He couldn’t make out the mark on the bottom of the glass, and even if he could it would be meaningless to him. He was no expert. But he was knowledgeable enough to know what he held was priceless.

It was an extremely old, even ancient, piece of glass. Made in a method not seen in hundreds of years. Gamache gently put the glass down and looked into the kitchen. On the open rustic shelves there stood at least ten glasses, all different sizes. All equally ancient. As his team watched, Armand Gamache moved along the shelves, picking up plates and cups and cutlery, then over to the walls to examine the hangings. He looked at the rugs, picking up the corners, and finally, like a man almost afraid of what he’d find, he approached the bookcases.

“What is it, patron?” asked Beauvoir, joining him.

“This isn’t just any cabin, Jean Guy. This is a museum. Each piece is an antiquity, priceless.”

“You’re kidding,” said Morin, putting down the horse figurine jug.

Who was this man? Gamache wondered. Who chose to live this far from other people? Three for society.

This man wanted no part of society. What was he afraid of? Only fear could propel a man so far from company. Was he a survivalist, as they’d theorized? Gamache thought not. The contents of the cabin argued against that. No guns, no weapons at all. No how-to magazines, no publications warning of dire plots.

Instead, this man had brought delicate leaded crystal with him into the woods.

Gamache scanned the books, not daring to touch them. “Have these been dusted?”

“They have,” said Morin. “And I looked inside for a name, but they’re no help. Different names written in most of them. Obviously secondhand.”

“Obviously,” whispered Gamache to himself. He looked at the one still in his hand. Opening it to the bookmark he read, I went to the woods because I wished to live deliberately, to front only the essential facts of life, and to see if I could not learn what it had to teach, and not, when I came to die, discover that I had not lived.

Gamache turned to the front page and inhaled softly.

It was a first edition.

NINETEEN

“Peter?” Clara knocked lightly on the door to his studio.

He opened it, trying not to look secretive but giving up. Clara knew him too well, and knew he was always secretive about his art.

“How’s it going?”

“Not bad,” he said, longing to close the door and get back to it. All day he’d been picking up his brush, approaching his painting then lowering the brush again. Surely the painting wasn’t finished? It was so embarrassing. What would Clara think? What would his gallery think? The critics? It was unlike anything else he’d ever done. Well, not ever. But certainly since childhood.

He could never let anyone see this.

It was ridiculous.

What it needed, clearly, was more definition, more detail. More depth. The sorts of things his clients and supporters had come to expect. And buy.

He’d picked up and lowered his brush a dozen times that day. This had never happened to him before. He’d watched, mystified, as Clara had been racked by self-doubt, had struggled and had finally produced some marginal piece of work. Her March of the Happy Ears, her series inspired by dragonfly wings, and, of course, her masterpiece, the Warrior Uteruses.