bistro

Every day the words that Keep-on-Dancin_ and the Gypsy imparted to me - theories, observations, advice and warnings - are substantiated and acquire deeper meaning.__t__ not for nothing there are so many bistrots in Paris,_ Keep-on-Dancin_ asserted. __he reason so many people are always crowded into them isn__ so much they go there to drink but to meet up, congregate, come together, comfort each other. Yes, comfort each other: people are bored the whole time, and they__e scared, scared of loneliness and boredom. And they all carry around in their heart of hearts their own pet little arch-fear: fear of death, no matter how devil-may-care they might appear to be. They__ do anything to avoid thinking about it. Don__ forget, it__ with that fear all temples and churches were built. So in cities like this, where forty different races mingle together, everyone can always find something to say to each other.

The bistro was his secret weapon in tracking down murderers. Not just in Three Pines, but in every town and village in Quebec. First he found a comfortable café or brasserie, or bistro, then he found the murderer. Because Armand Gamache knew something many of his colleagues never figured out. Murder was deeply human, the murdered and the murderer. To describe the murderer as a monstrosity, a grotesque, was to give him an unfair advantage. No. Murderers were human, and at the root of each murder was an emotion. Warped, no doubt. Twisted and ugly. But an emotion. And one so powerful it had driven a man to make a ghost.Gamache's job was to collect the evidence, but also to collect the emotions. And the only way he knew to do that was do get to know the people. To watch and listen. To pay attention, and the best way to do that was in a deceptively casual way in a deceptively casual setting.Like the bistro.