53 pages • 1 hour read
Valérie PerrinA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Violette finds her register left at her window and wonders about Julien’s life. She opens the cemetery and reflects on the many cats that live there. Some are named after their deceased owners, while others are named after Elvis’s songs. She arrives back home to find the gravediggers Nono and Elvis talking with Father Cédric about Gaston’s clumsiness. They are at ease with each other, and Cédric laughs at Nono’s stories. After the gravediggers leave, Cédric and Violette discuss faith.
The narration returns to Violette’s past with Philippe. She is utterly in love, powered by their passionate sex life. Violette supports them both with her waitressing job. One day, Philippe’s parents arrive at their apartment, and they discover that Violette is pregnant. Philippe and his mother talk about Violette as if she weren’t there. The next day, he announces that his parents have found work for them as level-crossing keepers.
In the present day, Violette observes the gravediggers: Gaston has fallen into an open grave. She also reflects on some of her other visitors, living and dead. Many are widowed lovers whose attempts to grieve their married lovers are scorned by the deceased’s families. In one instance, two extramarital lovers were buried separately from each other. Violette took a cutting of a plant from one grave and planted it above the other so the two would be symbolically joined together.
In the past, Violette and Philippe argue about what to name their unborn child.
Violette and the gravediggers attend the burial of a beloved doctor. Hundreds of people attend, and the doctor’s son makes a speech. One of the undertakers tells Violette how the doctor’s wife was once one of his patients.
Violette turns her observations inward, examining herself as others see her. She reflects on how she is a polarizing force in the community, greeted with both suspicion and compassion. She remembers instances in which rowdy teenagers broke into the cemetery, causing chaos. Violette chased them away, but she makes allowances for those who come to the cemetery to make love. One particular group of teenagers refused to be deterred but left for good one night after a terrifying encounter with the supernatural.
During Violette’s time with Philippe, she comes across a copy of The Cider House Rules, or L’Oeuvre de Dieu in the French translation. It is difficult for her to read with her low level of education, but she attempts to work through it. Her affections for Philippe begin to cool, and she starts to see the sides of him she’d previously been ignoring. She buys a dictionary to improve her vocabulary.
Nono and Father Cédric speak about Nono’s past; he was laid off from his job painting houses before becoming a gravedigger. Cédric reveals that his father was a soldier. Julien arrives, and he and Violette introduce themselves by name for the first time. Julien has finished his speech for his mother but confesses the real reason for his visit: He has located Philippe.
This second section continues alternating between the past and present, adding more depth to the cemetery practices and community while filling in more of Violette’s relationship with Philippe. All the supporting characters are given more dimension—particularly Philippe Toussaint, who becomes a rounder (though still abusive) figure. Meanwhile, Violette’s day-to-day life as a cemetery keeper continues to develop the theme of Responsibility to the Dead. Violette’s sense of this is notably personal; in cases where the presumed wishes of the deceased clash with societal norms (e.g., extramarital relationships), Violette strives to honor the former. Love in particular constitutes a guiding principle, which is why she sees no disrespect in couples having trysts in the cemetery but does chase off loud teens. This latter incident also speaks to the novel’s interest in The Spiritual Versus Material World. Although Violette herself professes disbelief in life after death, she recounts incidents that seem to imply some sort of continued existence, suggesting a degree of ambivalence.
Stylistically, these chapters continue in some of the patterns established in the first section. Chapter 16 is reminiscent of Chapter 1, being a short conversation that fills only half a page. It is told entirely in dialogue with no narrative or action tags. The author conveys enough information to the reader to keep the dialogue accessible, and the chapter is short enough to avoid overwhelming readers. Perrin’s choice of using dialogue-only sections also appears later in the text.
As this section draws to a close, the novel reaches its first major turning point. Julien Seul introduces himself by name, creating a new connection between him and Violette; the canvas is no longer entirely blank. Just before the chapter ends, he announces that he’s found Violette’s husband. Up until this point, Philippe has been confined to the chapters set in the past, with only a few passing references to his name in the present day: Though the full context is missing, it is clear that he is no longer part of her story. This reemergence upends all that, as his presence suddenly becomes a part of the here and now. Julien’s discovery not only puts the protagonist at a pivotal crossroads but also sets the stage for the other major events that occur from this moment in time forward.
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