64 pages • 2 hours read
Joanne HarrisA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Reynaud thinks that the nurses show faux respect and laugh behind his back, like his congregation. Meanwhile, Caro is excited about the anti-chocolate petition. He rebukes her, wanting discretion. He feels love for his flock, who are stupid but need him. He dislikes the statue of St. Francis, his namesake, who is cheerful and plump, unlike St. Jerome.
Muscat is absent from church. Reynaud visited his café recently, finding it dirty and empty. Muscat was drunk, self-pitying, and threatening toward Josephine and Vianne. Reynaud told him to keep away from them. Now, Reynaud looks for Muscat. He goes to the café, where a crowd is gathered. Caro giddily tells him that Muscat has got Josephine in the upper room. Screaming, abuse, and crashing are heard. Reynaud wonders if Caro also feels a horrible thrill at violence. He has a vivid flashback to his horror at finding his père and his mother having sex in the chancery. Shortly before, he had set the houseboats on fire. No one suspected such an obedient boy, instead cold-shouldering the Muscats for a time. He reveals that two people died in the fire; his père comforted him that they were worthless anyway and that it may have been God’s plan. He gave Reynaud penance to absolve himself, and after these incidents, Reynaud’s parents separated, and he was sent away to a school in the north.
Armande snaps him out of his reverie, instructing him to come with her inside the café. He says that the door is locked, but she and Guillaume break in. As they get upstairs, Muscat breaks down the bedroom door, revealing Josephine crouched inside. During the service, he had violently attacked her, and she fought him off and barricaded herself in the bedroom. Muscat expects Reynaud to side with him, as he helped him with the Romani people, a point that Reynaud rejects. Armande calls them two of a kind and spits in Muscat’s face. She and Guillaume take Josephine away. Reynaud pushes a crying Muscat off him in disgust. Muscat leaves the village. Reynaud tells Caro that she and her campaigners must distance themselves from him. He feels that, to avoid scandal, he must preach tolerance and burn the anti-chocolate posters. He is afraid that Armande may reveal her knowledge about the fires. He thinks that Vianne has won, unless there is a miracle.
Roux and various villagers help Josephine do up the café, renamed “Café des Marauds” (324). Luc has moved in with Armande. Caro is upset by this. He says that it’s just until the party, to which he encourages her to come. The chocolaterie is thriving. Reynaud has said that his disapproval was just a rumor. Vianne asks Armande why Reynaud has changed, but she is evasive. Armande doesn’t discuss her plan to stop taking her insulin, instead talking about the extravagant food for her party and reminiscing about a youthful fling. Vianne wishes for a miracle, which comes from her mother’s influence. She remembers her morphine-hazed last weeks. She showed Vianne a folder of newspaper clippings about disappeared or kidnapped children. Vianne interpreted this as worry that Vianne might vanish, but her mother said that she already did. One clipping showed a child named Sylviane who’d now be Vianne’s age, kidnapped in Paris with some toys that Vianne remembers. Vianne wonders if it was another of her mother’s fantasies and questions if it matters after so long. She reads her mother’s tarot cards. The Lovers suggest that Roux and Josephine should be together but that she has a connection with him, too. She feels that the Hermit means that Reynaud will still try to destroy her, and she burns the card. She is torn between feeling in control of her destiny and being pushed into something unintended.
Reynaud feels glad that, on this important day, even usual absentees attend church. He feels needed by his flock and love for them. He thinks that his père suffers partly to protect them from his sins—he had a stroke after Reynaud saw him and his mother, becoming unresponsive. Reynaud believes that he will come back, as he has fasted and prayed. A child asks him about one of Vianne’s stories. He roars in anger, frightening her. He wonders if in the service this evening, people will secretly be thinking about chocolate. He sees the lavish preparations for Armande’s party and berates Guillaume for helping. He thinks that the excess is dangerous for her and inappropriate during Easter.
Everyone prepares for the huge party. Armande has her hair done and has new red accessories. The many guests include the Clairmonts and Roux’s friends, Blanche and Zézette, who stayed nearby in their boat. Everyone dresses up and gives Armande special gifts. Roux and Narcisse bond over growing plums. Guillaume surreptitiously feeds his new dog. Vianne serves many beautiful dishes, though she doesn’t eat much herself. She remembers her mother’s disapproval of such earthly magic, warning her that she’d get fat. They eat late into the night. Afterward, Vianne helps a drowsy Armande prepare for bed, knowing that she has stopped taking her insulin. Armande asks her to stack the gifts where she can see them and sends her away. Downstairs, Vianne and Roux wash up. She feels that she does not really know him and that he belongs with Josephine, but they have sex in the garden. As they watch the night go by, Roux sings the song about setting sail on the wind. Vianne has a premonition of a new presence inside her. When Vianne wakes, Roux has gone.
Reynaud asks his père if he has not done enough penance for their sins. Against medical opinion, he believes that he will wake up. He is furious that Armande died on her own terms last night. He blames Vianne for tempting many souls beyond salvation and himself for failing to prevent it. He plans to break in at night and destroy the chocolate for the festival. He thinks that his père’s fingers twitch and sees it as a sign.
Reynaud barely sleeps, waiting to break in. He dreams of Armande or Vianne wearing red, the people who died in the fire, his père and mother in the chancery, and gorging on chocolate. Waking, he thinks that the penance may be technically over but that he must succeed now so that Jesus will rise. He shuns the pastoral music on the radio and dons a balaclava. At 5:10 am, he enters the unlocked kitchen. He is surprised by its clean orderliness. He is affronted by the bright flowers on the table despite the fact that Armande has just died, throwing them to the ground. He enters the shop and is overwhelmed by the scent of chocolate; he looks at the window display and thinks that he could try a chocolate, as no one will know. He struggles to choose one, realizing that he has not eaten chocolate since he was young. He is overwhelmed by sensation when he bites into one. At 5:45, he tries more, checking that he still has time. He thinks that his work will not take long and keeps taking just one more. At 5:55, he gorges on the chocolates, like in one of his dreams, making sounds as he eats desperately. He imagines Armande haunting him. At 6:00, the Easter bells signify that Jesus “is risen,” and Reynaud comes to himself on the floor, surrounded by chocolates. He realizes that Vianne’s stock is in the cellar and picks up his cudgel, but Vianne is watching him from the doorway, smiling and holding a burnt card. She takes the cudgel from him, and villagers come to help her or stare. Laughter and Easter bells ring through the square.
Reynaud runs away into Les Marauds without saying Mass, so the villagers begin the chocolate festival early instead. Vianne cleans up the window display. The festival is a success. People dance, play music, and set up stalls. The river people return. Vianne imagines Armande everywhere. The sun shines. Later, Vianne is uneasy and misses Armande. Guillaume and his dog visit with a letter from her. He shakes her hand, and they say goodnight. In the letter, Armande gifts her two coins, one for Anouk and one for her next child. She says that she loves them and that they may meet again someday. Instead of going to the funeral, which is Caro’s domain, Armande tells Vianne to gather everyone for chocolate in the chocolaterie. Vianne feels that the wind is blowing her onward again. She thinks that the town no longer needs her—Luc reads Rimbaud without stammering, Guillaume feeds his dog, and Roux and Josephine will make a home together. Without Reynaud, she has no purpose, and other places call to her. She has defeated her fear of the Black Man and said farewell to her mother. She holds Anouk close. She imagines staying and thinks of the new life inside her. Anouk asks her to sing the wind song. She hopes that this time, the wind will move on without them.
Harris packs action into this final section of Chocolat, creating an intense narrative climax. Several plot twists are revealed that shed light on the central characters of Vianne and Reynaud, resolving some of the mystery around them and highlighting their Intergenerational Influences. Firstly, Harris reveals that Vianne’s mother probably kidnapped her as a child, which explains why they were always fleeing and why Vianne never feels that she belongs. Secondly, the source of Reynaud’s obsessive, hostile behavior is his traumatic past: his arson and his père’s sexual “sins” with his mother. His père’s subsequent coma leaves Reynaud to carry the weight of his guilt and horror alone. The narrative’s comparison between the actions of Reynaud’s mother and Vianne’s mother underscores its differentiation between religiously imposed morality and immorality and plain right and wrong. Reynaud’s mother committed what the church considers a sin, and he lives a difficult life feeling horrified by such sin. Vianne’s mother committed a crime, but Vianne lives a freer life by deciding that this didn’t amount to a wrong since so much time has passed without any harm.
As well as these enlightening reveals, Harris also uses this section to give cathartic completion to several characters’ arcs. The central event is Armande’s party, in which she lives out her wishes, indulging in the things that are most important to her: community and sensory pleasure. Her death on her own terms represents her assertion of her agency right until the end. Josephine’s character arc also reaches a conclusion in this section. She faces her fears in returning to the café for her things and manages to fight Muscat off until allies in her newfound community (Armande and Guillaume) can help her escape. Like Armande, she asserts her agency over her life. She reverts to her birth name, representing her fresh start without Muscat and her self-determination. Her name, “Bonnet,” has connotations of innocence and femininity, reminiscent of the confident young girl she was before Muscat. Muscat is a grape used for wine, relating to his alcohol consumption, and is etymologically related to the word “musket,” the weapon. Josephine has reclaimed an identity that is separate from him.
Reynaud’s narrative arc also reaches a climax, as he gives into temptation, gorging on Vianne’s chocolates. This mirrors elements of the story of original sin, with Vianne positioned as Eve, the chocolate as the forbidden fruit, and the village as Eden, which he flees in shame. Harris shows that, despite his preaching, he is fundamentally as human and flawed as his parishioners. He has an open ending, having fled for the time being, just as Vianne does. The chocolate festival is a success, which creates a narrative pay-off as Vianne, the sympathetic protagonist, has defeated Reynaud. However, she remains unsure whether she can resist the pull of the wind and remain in the village.
This ambiguity for the two central characters is in keeping with Harris’s exploration of the fluidity of stories and versions of the past, found in Vianne’s mother’s tales that mix fact, fiction, and different mythologies, as well as in Reynaud’s repression of his own past. The open ending fits with Vianne’s ambiguous relationship with her mother and magic and the magical realism genre of the book. However, Harris hints that Vianne might stay and shows her growth through the story: “[O]ther things we can leave behind. The Black Man is gone. You too are gone, Maman, though I will always hear you speaking to me” (371). Unlike Reynaud, her love for her daughter and for others, and her engagement with her history, has allowed her to grow, rather than be destroyed.
By Joanne Harris