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Parental responsibility and nurturing are important themes in the novel, with various characters modeling parental and pseudo-parental roles to illustrate how important it is for the young and the vulnerable to be protected. By stepping into a role as the head of the academy—where young cadets are trained to become police agents—Gamache takes on a pseudo-parental role for all of them. He sees it as his duty to counteract Leduc’s corrupting influence and prepare the cadets to function effectively as a team. Sometimes Gamache’s parental role toward the cadet leads him to be stern with them, such as when he scolds them and says, “You need to stop this sniping. You’re not in a schoolyard” (212). However, it also leads him to feel a strong sense of duty toward their well-being and humility when he realizes that he has failed to protect them.
The strongest example of parental sentiment occurs when Gamache tries to insist on being present when Amelia is being questioned, acting in loco parentis and standing in “for all their parents. […] The students have been entrusted to my care” (283). While Gamache acts from a good place, his insistence is so strong that it raises suspicions for both Reine-Marie and Jean-Guy that he might be Amelia’s biological father. This suspicion is one example of how Gamache’s commitment to parental responsibility can become a liability and an asset. Many characters imply that Gamache might have killed Leduc out of a misguided protective impulse toward the cadets. Gélinas reflects, “They kept running back to Leduc. To their abuser. There was only one way to save them. And others” (229). In an indirect sense, Gamache’s protective and parental regard for the young cadets does lead to Leduc’s death because Brébeuf carries out the murder sincerely believing that this is what Gamache would have wanted.
In addition to the main plot concerning Gamache’s care for the cadets, the theme of parental care and responsibility is reinforced through other plot details. Clara and Reine-Marie adopt young puppies, which they must care for and nurture while also gently training and correcting. Jean-Guy is also on the cusp of fatherhood as the plot unfolds since his wife Annie is pregnant with their first child. This context adds increased emotional intensity to what Jean-Guy learns about events at the academy. At one point, he ponders, “those cadets, who were not just cadets. They were someone’s sons and daughters. Someone’s children. And he imagined his own child, in that situation” (337). The novel ends with the baptism of Annie and Jean-Guy’s son, providing a culmination to this theme.
Abuse from an authority figure is an important theme in the novel and drives a major plot component. Leduc can manipulate new cadets because he lies and seduces them, making them feel special and that they need him and should do whatever he tells them. As Brébeuf grimly notes, Leduc possessed “stupidity and power. A dangerous combination […]. Especially for anyone young and vulnerable” (356). He preys on the weaknesses and insecurities of the young cadets to make them more malleable. For example, Amelia explains that Leduc told her that if she refused to go along with him, “he’d let you throw me out” (341), knowing that Amelia has nowhere else to go and is terrified of being expelled from the academy. As Huifen explains, “He chose us. And he broke us” (342).
The novel develops the theme of abuse from an authority figure by grimly revealing that when someone who holds power manipulates someone more vulnerable, it can cement the bond between them. Lacoste draws a dark analogy between what is happening at the academy and domestic abuse, explaining that “abused children become desperate to please the abuser, to appease them. They learn early and quickly that if they don’t, they pay a price” (222). Gélinas notes the same pattern and uses this speculation to develop his suspicion of why Gamache would have been driven to kill Leduc, explaining that “they kept running back to Leduc. To their abuser. There was only one way to save them. And others” (229). In a sense, Gélinas is correct because the cadets never reveal the horrors of what is being done to them. They are only saved when Leduc is killed and when Gamache finally realizes what has been occurring.
Because they were being hurt by someone they trusted, the cadets need a new authority figure to step in and replace Leduc. Gamache seems like a possibility, but they are wary of him because they have been lied to by Leduc. Jacques eventually reveals that Leduc had told them that “Gamache is a coward. He ran away from the mess he made and how he’s trashing the academy” (150). Because the cadets are in Leduc’s thrall, they are inclined to believe whatever he tells them, and Leduc cleverly turns them against anyone who might lead them to question his actions. Gamache’s failure to understand what is going on also erodes his ability to step in as a new authority figure; as Huifen explains, “We trusted you, sir. […] We thought when you arrived it would end, but it only got worse” (342). Nonetheless, some of the cadets, especially Amelia, do come to see Gamache as an alternative authority figure, someone they can truly trust; as Amelia points out, “You seemed so […] kind” (341). Even though he is imperfect, Gamache steps into the void left by Leduc to offer a far different type of care and guidance to the cadets.
The theme of appearances being deceiving develops mystery within the plot and builds suspense. It also shows both Gamache’s strengths and weaknesses as a character. Amelia is misunderstood by almost everyone due to her unconventional appearance and history; Brébeuf calls her “rough, coarse. […] with all the tattoos and piercings” (251). Gamache’s rebuttal to Brébeuf reveals his ability to see past appearances and view individuals in complex ways: “She swears like the criminals she’ll one day arrest. While you, Brébeuf, are gentility itself. And have broken most of the laws you promised to uphold” (251). Amelia and Brébeuf represent the theme of deceptive appearances from two different angles: Amelia seems menacing but possesses integrity and loyalty, while Brébeuf seems elegant and competent but is quick to betray and act in his own best interest.
The plotline around the orienteering map likewise develops this theme. The presence of the map in Leduc’s bedside table becomes a major red herring that diverts the case and prolongs the investigation; it seems to be something of importance but ends up being unrelated. The investigation of the map also leads to the significant reveal that the famous cartographer, Antony Turcotte, is a woman. As Clara speculates, “she might have learned mapmaking by watching her husband and then discovered that she was far better at it” (384). This reveal connects to the plotlines around several of the cadets: Huifen, Amelia, and Nathaniel all see their credibility questioned because they are respectively Chinese-Canadian, from a rough background, and gay. One hundred years before, Marie Valois had to disguise her identity to pursue her professional goals. While deceptive appearances can allow for lies and secrets, they can also create opportunity, especially for those who can see beyond them.
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