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The Strange Case of the Composer and His Judge: A Novel
The Strange Case of the Composer and His Judge: A Novel
The Strange Case of the Composer and His Judge: A Novel
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The Strange Case of the Composer and His Judge: A Novel

Rating: 3 out of 5 stars

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The bodies are discovered on New Year's Day, sixteen dead in the freshly fallen snow. The adults lie stiff in a semicircle; the children, in pajamas and overcoats, are curled at their feet. When he hears the news, Commissaire André Schweigen knows who to call: Dominique Carpentier, the Judge, also known as the "sect hunter." Carpentier sweeps into the investigation in thick glasses and red gloves, and together the Commissaire and the Judge begin searching for clues in a nearby chalet. Among the decorations and unwrapped presents of a seemingly ordinary holiday, they find a leather-bound book, filled with mysterious code, containing maps of the stars. The book of the Faith leads them to the Composer, Friedrich Grosz, who is connected in some way to every one of the dead. Following his trail, Carpentier, Schweigen, and the Judge's assistant, Gaëlle, are drawn into a world of complex family ties, seductive music, and ancient cosmic beliefs.

Hurtling breathlessly through the vineyards of Southern France to the gabled houses of Lübeck, Germany, through cathedrals, opera houses, museums, and the cobbled streets of an Alpine village, this ferocious new novel is a metaphysical mystery of astonishing verve and power.
LanguageEnglish
Release dateOct 25, 2010
ISBN9781608192878
The Strange Case of the Composer and His Judge: A Novel
Author

Patricia Duncker

Patricia Duncker is the author of five previous novels: Hallucinating Foucault (winner of the Dillons First Fiction Award and the McKitterick Prize in 1996), The Deadly Space Between, James Miranda Barry, Miss Webster and Chérif (shortlisted for the Commonwealth Writers' Prize in 2007) and The Strange Case of the Composer and his Judge (shortlisted for the CWA Gold Dagger award for Best Crime Novel of the Year in 2010). She has written two books of short fiction, Monsieur Shoushana's Lemon Trees (shortlisted for the Macmillan Silver Pen Award in 1997) and Seven Tales of Sex and Death, and a collection of essays, Writing on the Wall. Patricia Duncker is Professor of Contemporary Literature at the University of Manchester.

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Reviews for The Strange Case of the Composer and His Judge

Rating: 2.8670885670886075 out of 5 stars
3/5

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  • Rating: 2 out of 5 stars
    2/5
    If someone had asked me to give a rating after the first half of the novel, it would have been 4 stars, but after I finished it I can only give it 2. Maybe I was a bit misled by the description of it. I thought to begin with that I read a crime novel - but it turned out I did not. I loved the beginning - mystic, horrifying, sad and promising. I enjoyed the language, the french and european in it. The characters is ok - but no more. I have no problems with religious or metaphysical mumbo jumbo in a novel as long as it is well written and "credible" in the context. In this novel however it just became silly.
  • Rating: 4 out of 5 stars
    4/5
    The strange case of the composer and his judge is a enigmatic novel, which can be read at different levels. Superficially, the novel is written as a detective story in which a judge, Dominique Carpentier, investigates a murder mystery, consisting of group murders of members belonging to a religious sect. Obviously, this level is not the main level of interpretation of this type of literary fiction. While the plot shares characteristics with the detective novel, most detective novels are better written than this.However, the levels or layers of meaning below the surface level are obscure and opaque. While at the level of detection, Dominique's actions are governed my her superior intellect, a rational approach to whatever is hidden below the surface will not do.The murder mystery, or who-dunnit, is but a relatively simple mystery. The true mysteries are those of religious belief and the mysteries of the heart. Here the rational mind is of little or no use, mystery is the realm of intuition.The religious sect Dominique investigates is a quasi-rational mystery, which seems based on predestination. The fate of its members is written in the stars, which can be read and interpreted, but fate cannot be escaped. When the spiritual leader of the sect finds Dominique Carpentier on his path, he chooses to embrace her rather than resist, as if it is fate that she would be on (or in) his way.The mysteries of the heart form another enigma which hovers throughout the novel. Dominique Carpentier appears to the reader as a single woman, of middle-age. Her colleague, Andre Schweigen, adores her, but never says so (his surname means "remain silent"). The leader of the religious sect, Friedrich Grosz, (his name means "the great") tries to embrace her, and pull her into his sphere. However, apparently, Dominique, seems much too rational to give into these feeling. She cannot let herself go with these men.The religious sect is a closely-knit community. The group murders are each time performed in a circle, the symbol of community. By a turn of fate, the former leader of the sect, appears to be a woman from Dominique's hometown, from a family with whom Dominique spent many happy times in her youth. In fact, the closest Dominique has ever come to affection, are her, apparently lesbian feelings for the daughter of that family, with whom, and none other, she would dance in community gatherings. Thus, the circle being being nearly full round, Grosz sees his task on earth fulfilled and alights.The novels rather enigmatic title, The strange case of the composer and his judge suggests a polarity, where in fact no opposition exists. Rather, than the choice of a definite article "the", the choice of the personal pronoun "his" suggests a close personal tie between the composer and the judge, a tie of two forces, shaped like a diabolo.While a murder mystery can be solved, readers will have to accept that for matters of the heart, no such simple solutions exist. The novel, therefore, does not offer complete fulfillment.
  • Rating: 2 out of 5 stars
    2/5
    Most of us remember the Doomsday cults of the 1990s and this cover blurb will attract anyone fascinated by the Branch Dravidians or the Heaven’s Gate crowd: a group of hunters come across of semi-circle of corpses laid out neatly in snowy mountains, members of a mysterious suicide cult. The cultists belong to a sect known only as The Faith, and parallels with the Order of the Solar Temple are obvious, even down to the leader being a musician, the Western European setting and the astronomical connections. The book has a promising premise, a confusing beginning, and from then its all downhill as the reader flounders in Duncker’s prose, as densely unreadable as a pedantic mid-Victorian translation – suffocating, but with moments of brilliance. And oh Goodness, why og why does everyone fall in love with the insufferably smug Judge? men and women, young and old, are inexplicably drawn to her!
  • Rating: 4 out of 5 stars
    4/5
    I am left with mixed feelings about this book. It didn't deliver what I expected, but I didn't dislike it. Some elements of the story were distracting, while others were enjoyable.The first few chapters were quite compelling, as were the last two or three, but the long middle section dragged out what could have been accomplished more succinctly. Perhaps I don't appreciate the nuance of the story, but I felt it lacked the charm and urgency I typically seek in a mystery. I appreciate that the story is more literary than straight genre fiction, but I would argue that the main character's transformation is still too subtle for the length of the book - so this doesn't totally work for me as either a piece of literary fiction or as a mystery.The highest compliment I can give this book is that the situations and characters are unique, and not at all predictable. If you're interested in religious cults and foreign mystery, I recommend this book.
  • Rating: 5 out of 5 stars
    5/5
    Dominique Carpentier is a judge, known as "la chasseuse des sectes": a hunter-down of those who defraud and beguile the gullible out of their money or their lives. Her hyper-rational nature makes her well-suited for the task. But there are some things which rationality can't explain: love, music, and above all faith. The Composer (with whom she comes into contact in the course of one of her investigations) may just represent all three. And so the Judge finds her rationality tested...I loved the writing in this, and the way it teased out ideas of rationality and its opposite, about truth and lies. Of course, even at the beginning the Judge's rationality is not as pure as she thinks it is: she is not immune to love or friendships, and is passionate about her work. "Reason is neither gentle nor kind, and the Judge believed in Reason with as intemperate a commitment to her own credo as any of the secret initiates who had given their hearts to the suicide Faith."I am a big fan of Patricia Duncker, but her last novel, Miss Webster and Cherif, didn't quite hang together for me. This, fortunately, is a great return to form. It feels more mainstream than some of her early work (eg it doesn't play around quite so much with notions of gender) - I personally miss that, but perhaps it will mean that this can be her breakthrough success.Sample: The Judge crouched in her seat, baffled by the action and the incoherence of the music. Yet everything unrolled according to her prejudiced expectations: forbidden love, desperate conflicts of loyalty and trust, she loves this one but has to marry that one, who is this one's lord and master. So far, so predictable. But the music unsettled her nerves; a monolith of sound, oddly broken and discordant. Each theme she picked out modulated, mutated, dissolved and escaped, so that she could never keep hold of the threads. The Judge confronted a structure, which resembled the barrage in the mountains above Montpellier, a giant man-made dam behind which the waters mounted, pressed. She could hear the danger rising, rising. And so two conflicting emotions bubbled within her: anger and irritation at being forced to listen to something that she neither liked nor understood, and hypnotised fascination. Her gaze flickered across the rapt and concentrated audience: another sect, another sect.
  • Rating: 1 out of 5 stars
    1/5
    I really struggled with understanding the writing in this book. I felt like I was reading a very flowery philosophy book rather than a mystery. There were too many foreign languages that were not translated and it left me very unwilling to devote more time to this book. The first chapter started off very interesting but as it went on it was missing excitement and suspense (wasn’t it labeled a mystery??) which led me to eventually put it back on the shelf unfinished, something I very rarely do!
  • Rating: 3 out of 5 stars
    3/5
    The book opens with three hunters looking down on a clearing on New Year’s Day. “Nine adults…stretched out upon their backs, settled into a sedate, reclining curve. Their elbows were bent back, their hands raised, palms facing upward….” At their feet, warmly dressed and swaddled, are the bodies of their children. Sixteen people dead, only one violently.Commissaire Andre Schweigen is the police representative in charge of the investigation. Six years earlier, the same scene had been set in Switzerland, the difference being that in Switzerland the body count was much higher. There sixty-nine people had been found in the semi-circle, one killed violently. Schweigen sends for Dominique Carpentier, the investigative judge known as the “sect hunter”. They had been called to Switzerland because some of the people who had participated in “the departure” had been French citizens but the Swiss had not wanted to proceed with an investigation, so Dominique and Andre had been left with questions and no way in which to get answers.Now, with the crime on French soil, they can pursue the case and make the connections between the two events. In Switzerland, sixty-eight people had died by poisoning, one had been shot in the head. In France, fifteen had died by poisoning, one had been shot in the head. No gun was found at either scene. Someone had watched people die and then ended the life of one. In Switzerland, the last to die was Anton Laval. In France, the last to die was Marie-Cecile Laval, his sister, and Dominique’s best friend from childhood.Dominique’s reputation was built on her determination and her success in ferreting out pseudo-religious sects that prey on the desperate, the lonely, the religious, and the rich. As the authorities examine the house in which the newly dead had been living, there are signs of celebration: Christmas decorations, wrapping paper, gifts, and the things associated with the mid-night celebration of the New Year. Yet, just after that moment, nine adults had willingly died and had taken their children with them.As Andre and Dominique search through the house, they find a book, old judging by the paper on which is printed, written in a strange language, like Hebrew, but not a language anyone recognizes. There are prayers and poems and a celestial map. Astronomy has been a part of many religions through time and the “Faith” seems to incorporate elements of the monotheistic religions and some incantations of the Egyptians as well. The book is clearly one of a kind and the name of the owner is written in very small script,not meant to be easily seen. The book belongs to Friedrich Grosz, the world famous composer and conductor.The investigation leads Dominique back to her childhood and the time spent at Domain Laval, a winery of some distinction. It also leads her to Grosz, a larger than life character of formidable charisma. Andre is in love with Dominique, his partner in a long relationship, and, soon, Grosz will be his rival for the love of the judge who is drawn to the Composer but unsettled by his intensity.THE STRANGE CASE OF THE COMPOSER AND HIS JUDGE has been described as a “metaphysical mystery”. Dominique’s job as a judge in the French legal system is not to weigh evidence but to find it so it can be passed on to those who decide who is prosecuted and who is not. In that sense, the story is metaphysical. Dominique has to examine the nature of the reality that drove the members of the Faith to choose departure for themselves and their children so that they may become immortal. But the Faith and the deaths are also tied to reality of fact. Has there been financial chicanery, enticing those ready to depart to bestow their assets on the Faith? Has someone committed murder from a distance?The book has the requirements to be considered an exercise in metaphysics but it doesn’t meet the requirements of mystery. The book ends in the only way it can and the author makes no attempt to divert the reader onto a less obvious path. The book is an examination of the philosophies that form personality and intellect, a mystery of sorts, but not a mystery in the conventional sense.So, why keep reading? THE STRANGE CASE OF THE COMPOSER AND HIS JUDGE is the most beautiful and evocative use of language since THE SHADOW OF THE WIND.
  • Rating: 1 out of 5 stars
    1/5
    I really wanted to like this, but did not. It had a lot of potential - an ancient cult whose members suicide en masses semi-regularly, a French setting (Strasbourg), a female investigator renowned as a sect hunter. What's not to like? Sadly, the author is trying so hard to rise above genre into the realm of literary fiction that's it's painful to read. In this case she throws all her pretensions against the wall, and they are many - multiple languages for random reasons, random quotes that don't necessarily fit the characters quoting them, dashes of what appear to be vaguely understood Post-Modern philosophy. Sadly everyone of them sort of hangs there on the wall like congealed oatmeal (and just as appealing). It was so excruciating that I stopped reading it on BART about one-third of the way home and stared out the window so I wouldn't have to keep trying - this is an unusual event and speaks volumes about how much I just couldn't get through this one.
  • Rating: 2 out of 5 stars
    2/5
    Like many excellent books, this one has an interesting premise but a slow start. However, rather than gradually picking up steam and becoming more and more intriguing, as the excellent books do, this book slowly ground to a complete standstill. I only made it to the middle and so can't comment on any that happened in the second half, but from reading the other reviews posted here it seems that I haven't missed anything worth reading. In the beginning, I was excited about the setting in the French mountains in winter, and the discovery of a grisly scene containing several bodies arranged in a circle laying on the ground in the snow. All appearantly dead of suicide except one. All belonging to the same strange cult. The investigator in charge of the case has absolutely no personality whatsoever. He calls in the "judge" (or had her forced upon him, I can't remember and don't want to go look it up) who is to direct the investigation. (I was never clear just what her function was. It wasn't really explained. Maybe it's a French thing. I'm not French, but neither is the author, so I'm not sure.) She seems to be quite knowledgable about things and has some familiarity about a similar case in another place. So her inquiries follow-up on the other case, leading the two of them to travel to several different places where they engage in a very not-romantic affair and where they meet people who know her but it wasn't explained how or why.I had hoped that when we finally got around to meeting the composer that things would pick up. But he is just as dull as the police investigator, at least to the point where I quit reading. And I was afraid that the judge was going to sleep with him, too, and that thought just turned my stomach.Others have commented on the language and the lack of character development, and I agree with those comments. There are also several comments about the book starting out as one thing and transforming into something else. That is also true. None of those shortcomings is necessarily fatal for me. But this combination of them turned out to be more than I could bear. My apologies to the ER program staff and the publisher for not holding up my end of the bargain in failing to complete the book. But it really isn't a book I could recommend to anyone else in good conscience.
  • Rating: 3 out of 5 stars
    3/5
    As many other reviewers have stated, I will reiterate that this was a well written book despite its many faults. The characters were difficult to relate to, and the book seemed to fall between categories- neither mystery nor suspense. I was interesting merely for its difference and unusual qualities that forced me to keep reading, intrigued just enough to follow it through to the end.
  • Rating: 3 out of 5 stars
    3/5
    This is not a mystery. It starts out as one, as hunters stumble upon the site of what appears to be a mass suicide by poison, in the woods of France. The dead include adults and children who have just walked away from their holiday celebration to lie in a perfect semi circle, on the frozen ground in the snow, and die. But one among the sixteen has not died by their own hand.This is not a suspense. It continues slowly, weaving in and out of the life of Dominique Carpentiera, the Judge assigned to investigate illegal cults on French soil. Money, coded books, star maps, a charismatic composer and his orchestra are the clues the Judge follows as she struggles to deal with the legal and philosophical questions of faith.What is this? It is an enigma wrapped in music shrouded in an ancient belief.
  • Rating: 2 out of 5 stars
    2/5
    Oh my gosh! I am trudging through this book and only about 2/3 of the way through. Since I'm doing this for early review, I'm feeling guilty that I haven't finished by now. Can you like and loathe a book? The beginning gave promise of a great mystery to be solved, but all I'm getting is the picture of an overly self-loving woman with two men who become obsessed with her at first meeting. Also, you could put this book on your bookshelf and retitle it, 'The Book of $2 Words.' Overkill on the descriptive prose! Maybe when I finish (I will finish), I can come back and add something more positive. Where's Hercule Poirot when you need him? He would have already had this case wrapped up :)
  • Rating: 2 out of 5 stars
    2/5
    I found the style artificial and the characters unconvincing.
  • Rating: 3 out of 5 stars
    3/5
    On the surface, The Strange Case of the Composer and his Judge is a mystery shrouded in a cult/sect known as 'The Faith'. However, the mystery aspects of the novel are pushed aside and this becomes much more a story of love and spirituality between the Judge and The Composer. My first impression of the novel was that the author focused too much on vivid descriptions and not enough on the plot. Upon further reflection, I think the author treated this novel more like a musical score, which is brilliant considering the subject matter. The words were lyrical, the crescendos built the tension and the decrescendos serves as a break from the action. Everything flowed in a very orchestral fashion. I am uncertain at this time if I loved or just liked this novel, but it was certainly worth the read.
  • Rating: 4 out of 5 stars
    4/5
    What an intriguing mystery. The little mystery is a cult or sect called "The Faith." It kind of reminded me of the cult that committed suicide in San Diego a while ago, but the cult in the book, took their kids with them (which was more shocking).There is a bit of a side story with the relationship of Judge and the Police Commissioner. A strange attraction that leads him to want to continue his inquiries just to be near her. It is not so much of a love story, more of a stalker quality to it. The Composer is the most interesting character of the book. He has such presence that I (as the reader) wanted to know more.It was not face paced, but it had a nice rhythm and kept me engaged. Not light reading though. It is a book that will keep you thinking after you finish, I know I have not been able to stop thinking about "The Faith."
  • Rating: 4 out of 5 stars
    4/5
    This is not your ordinary mystery so be aware of that fact. It is a literary novel disguised as a mystery. It is full of philosophical exploration and the ramifications on society. I enjoyed the story and found it interesting and flowing. While some people did not enjoy the writing style, I did not have a problem with it. I picked up the book and read through it very quickly. It moves quickly and then slows down and then picks up again. The movement between some events is a little jarring but not overly so. I found the idea of exploring cults/sects that leave people dead very interesting and see this as a topic that is very relevant today.
  • Rating: 2 out of 5 stars
    2/5
    It used to be that a good mystery was a good mystery and literary fiction and it's attendant awards were another world. Then authors like John Banville and Kate Atkinson wrote mystery novels and a new creature was born; the literary mystery. Of course, they've always existed. What else is Crime and Punishment or Murder in the Rue Morgue or any number of classics with a hint of suspense or crime? There have always been mysteries that had something out of the ordinary to say, or told the story in a different way, but now marketing's on to them and the possibilities of additional sales to book clubs or the promise of the publicity of awards. As someone who loves a good mystery and relies on the shortlists provided by various awards to find new authors doing interesting things, I'm a likely target for the literary mystery label. It sucks me in every time. The Strange Case of the Composer and His Judge begins in a very promising way. A group of bodies are discovered by hunters in the snow. They've arranged themselves in a semi-circle, with their dead children at their feet, all poisoned except for the central figure who was shot, the weapon nowhere to be found. A French commissaire and a judge who specializes in hunting down cults are called out. There had been a similar incident in Switzerland, but the authorities there had hushed it up, but this murder/suicide happened in France and Schweigen, the cop, and Carpentier, the judge, are determined to bring the guilty to justice.This was a solid beginning, with characters who could be complex and interesting and a story that could be exciting and involved. All that potential is wasted, however. Schweigen is a direct descendant of Larry, Curly or Moe, only without the nuance. He messes up every interrogation he takes part in and reacts to everything without regard for appropriate behavioral norms. Carpentier is absolutely perfect. She's stunningly beautiful, charismatic, intelligent, tiny and every character in this book falls madly in love with her, from her administrative assistant, to the commissaire, to the people she investigates for murder. It's boring. At one point it's mentioned that she doesn't like music and I grasped this as the sole indication that the judge was human. Of course, she then is then moved to tears by Wagner. The writing is also problematic. No one walks or drinks; instead they ooze and guzzle. The judge, we are often reminded, is wee. Everyone she speaks with looms or towers or bends over her. The simpler verbs are ignored. Here is a discussion in a kitchen:He bulged into the entire space between the freezer and the door, like the gigantic symbol of the Macrocosm. She found herself smiling back at his candour and impertinence. The Judge knew, she always knew, when a man was lying; she had a nose for perjury, and this man was made of truth.Oh, and that intriguing beginning? We only ever learn anything about one of the dead bodies. The rest are forgotten. As is the plot. At the very end things are tied up briefly and in passing.
  • Rating: 1 out of 5 stars
    1/5
    I hated this. If I had not received this through LTER, it would have been one of perhaps a half dozen books (and I've read thousands) I failed to finish. Instead I persevered - all the while composing bad reviews in my head.I'm tempted to say part of my dislike stems from expecting an escapist mystery and receiving a more literary novel. But the truth is if I had received a well-written literary novel instead of an escapist mystery I would have been thrilled.The well-written part being key. I have seldom encountered prose so stilted. It almost reads like a bad translation, as if English was not the author's first language. I think it is in reality a case of the author trying too hard. Open any random page and you will find tortured sentences like these:From page 178 "And although her confidence in her own intuition remained absolute, she needed to draw a hard circle around her morsel of gleaned knowledge."Or from page 179 "The Judge sent a message back to Gaelle via Reception and sallied forth into the fiery summer streets, where the leaves hung limp in the airless swirl of traffic, and spillage from the fountains evaporated at once upon the burning stones."The whole novel is like this - thick, overly descriptive prose taking precedence over plot and character development.The lack of character development being particularly annoying. Characters fall madly, obsessively in love with each other mere moments after meeting. Consider Andre, a dedicated Commissaire with a wife and young child who falls in love during his first meeting with the Judge based seemingly on her smile - "The smile, full of humour and affection, doomed to be Schweigen's undoing, ensured that from then onwards his every third thought was dedicated to the black-haired, dark-eyed Judge, whose ruthless efficiency, terrifying discipline and legendary self-control drove her colleagues to drink." He precedes to spend the rest of the novel doing little more than emailing her and calling her. She despite the fact they are working a case (and that she is sleeping with him) routinely ignores him.Then there is the Composer who after two meetings (which are basically interrogations) also falls madly in love with the Judge, declaring his undying devotion to the Judge and asking her to take over guardianship of his goddaughter should anything happen to him.The Judge after four meetings and four letters falls madly in love with the Composer. Agreeing to said guardianship, handing over vital evidence, and seriously considering marrying the Composer and leading his cult.
  • Rating: 3 out of 5 stars
    3/5
    At first I didn’t think my IQ was high enough to read this book. I really struggled with understanding the writing for the first few chapters. Eventually, I either got used to the writing or it dumbed down a little, because I was able to read and understand it easily enough.All that being said, this book is definitely more then a simple ‘whodunit’ mystery. Actually as I got closer and closer to the final pages it seemed more of diatribe on philosophical matters then solving the dead bodies that littered the beginning pages.Reaching the final page left me confused. I wasn’t confused about the murder case. I was confused on whether I liked the book or not. Actually I am still asking myself that question. Before I answer that question, I have to ask ‘what kind of book do you want to read?’ I think it works great as a piece of literary fiction. However if you are looking for a mystery book, which I was, it is missing some of the excitement and suspense of the genre.
  • Rating: 4 out of 5 stars
    4/5
    In 'The Strange Case of the Composer and his Judge' we follow a French Judge who works on religious sects and cults. The Judge is trying to figure out the sect behind two murder suicide incidences. In both situations people are arranged in a semi-circle and poisoned. One person in the middle is shot. This is nothing like the Judge has seen before and searches for this unknown religion. During her search she is lead to a composer who seems to know much more about this religion that has been dubbed the Faith. The Judge becomes entangled with the composer who is close friends with a family from her home town. As the Judge gets closer to uncovering the truth about the Faith she becomes closer to the composer and to the potentially dangerous outcomes of this religion.I really enjoyed this book. The characters were original and intriguing. I wanted to learn more about the Judge, but the little glimpses into her past were just enough to expose personal aspects of her character. The story of wonderfully weaved together and kept the reader interested. The beginning of the story was fast paced and I was unable to put it down. In the middle the case slowed and was not as fast passed. The interactions between the characters really kept the story moving and interesting. However, the end of the book picked up again as the Judge became more involved with the Faith. Anyone who enjoys a mystery and a story about complex characters will like this book.
  • Rating: 3 out of 5 stars
    3/5
    I found parts of this book extremely interesting and fast paced, but others slowed down to a crawl, going more into a side trip about the Faith philosophy. I think the uneveness hurt the story overall.
  • Rating: 4 out of 5 stars
    4/5
    The philosophical discourse at the heart of The Strange Case of the Composer and his Judge by Patricia Duncker is wrapped in just enough mystery to keep the reader pursuing the answers to the puzzling mass suicides committed by followers of an ecumenical religious order known as the Faith. The story opens with the discovery of 16 bodies, adults and children, found by hunters in a field in France, the adults arranged in a semi-circle facing the east with the children at their feet. All but one has died by poisoning; the remaining one, Marie-Cécile Laval, has been shot, but no gun is found at the scene. This second mass “departure,” as it is known in the Faith, is much smaller than the one that occurred in Switzerland six years earlier in which sixty-nine teenagers and adults “had either killed themselves, or been assisted on their passage into eternity . . . .” In that departure Marie-Cécile Laval's brother had been the one found shot and, likewise, no gun was found. Because many of the dead at the Swiss site were French, André Schweigen of the French police was consulted. He in turn consulted with a specialized investigator, Judge Dominique Carpentier, known as “the sect hunter,” whose mission is to ferret out pseudo-religious sects and determine what charges, if any, can be brought against them. But the Swiss were not anxious to pursue the case and so the French team made no progress. Now, six years later with a new crime on French soil, the Judge can pursue her investigation against the Faith with renewed vigor. Together with Schweigen and her assistant, Gaëlle, they discover a coded guidebook to the Faith, as well as its most prominent member, the world-renown German Composer, Friedrich Grosz, who is the godfather of Marie-Thérèse, the daughter of Marie-Cécile Laval, a friend from the Judge's youth. The Judge is determined to discover how all of these people and clues fit together, but there is another complication, one the Judge is not as prepared to handle: both Schweigen and the Composer are hopelessly and unashamedly in love with the Judge. And so, what begins as a murder investigation enlarges to include an examination of religious sects and the limits of religious freedom, the emotional appeal of opera and--because the Faith is based on the movement of certain stars--the central role of astronomy in many religions. Much like a musical composition, the story starts slowly then builds to a tension-filled crescendo with a fitting and just finale.Ultimately,The Strange Case of the Composer and his Judge is primarily a literary work with the mystery serving more as a transparent framework for the philosophical dialogue that infuses the story. Mystery readers who read widely in other genres will find this an interesting read, as well as readers who enjoyed works like The Vanishing Act of Esme Lennox and Olive Kitteridge.
  • Rating: 2 out of 5 stars
    2/5
    An apparent mass suicide/murder in a snowy field by members of a secret cult. A missing gun. And a woman (the Judge) who is supposed to get to the bottom of it all with the help of the Commissaire. Sounds like a good mystery. And somewhere, mixed up in the middle of it all, the Composer, a musician and conductor.I'm afraid it just didn't work for me. The mystery and the sect, the secrets involved, were not particularly compelling. There were too many unexplained non-English words and phrases and I spent too much time trying to figure them out, wondering if I was missing part of the story. The characters never came to life for me, and from what I knew of them, I didn't particularly like them or care about them. The love interests seemed cold and unrealistic. The writing was occasionally too flowery for the story.Wagner always comes home to roost. There is a method that underwrites his power: complicate, prevaricate, withhold. Let the water's seepage through the dam become palpable, visible, viscous to the touch. Then unleash all that has been promised and desired in a mighty flood. Deliver the goods.Like Wagnerian opera, the book was unrealistic, overblown, and sometimes boring. And like Wagner, this book will probably have many fans. Unfortunately, I am not one of them. Give me Verdi over Wagner any day. For me, this book didn't deliver the goods.This book was provided to me by the publisher.
  • Rating: 2 out of 5 stars
    2/5
    The Strange Case of the Composer and his Judge is a rather strange little mystery by Patricia Duncker. What started out as a intriguing idea didn't live up to that promise in execution. Almost nothing happens, the pace is slow to the point of plodding, and the characters just aren't that interesting. Worst of all for me, the author kept throwing in bits of French into the dialog in (I think) an attempt to add color. Instead it came of as confusing on one hand - are these characters speaking French, German, or what? - and pretentious on the other. Either way, it didn't work for me at all. It's unlikely that I'll recommend this to others.
  • Rating: 2 out of 5 stars
    2/5
    I had very high expectations for this book. I was absolutely delighted and intrigued when I received it in the mail as an ARC, so much so that I immediately put down the other two books that I was reading and devoted myself to it wholeheartedly. At first I was pleased. The writing style is beautiful while still being precise and succinct, not overly flowerly but still really descriptive. There is a smattering of French and some German throughout the book which I have heard people complain about but which I found charming and I felt it added much to the realism of the setting. The main character, Madame Le Juge, was great. She is spunky, intelligent, very compelling and fun to read about. All of the characters were really well developed and I was following their stories intently and I was excited about how the case was playing out and I couldn't wait for the Judge to discover the truth about this cult that she was pursuing. Then it ended with a completely unsatisfying ending where the characters all did very uncharacteristic things and absolutely no questions were answered satisfactorily. So, in the end, what could have been a really great mystery just sort of got left with some very weak conclusions. I was very disappointed, and in the end I am not sure that the ride was great enough to justify the final destination.
  • Rating: 3 out of 5 stars
    3/5
    On New Year's day, the French police are called to the site of what appears to be a mass suicide . This case is eerily similar to a previous mass suicide that had taken place six years earlier in Switzerland, also involving some French citizens. Coincidentally one of the victims in this latest incident was the sister of one of victims in the earlier case. The chief investigators of the case, André Schweigen and Dominique Carpentiera, had also investigated the previous case but were stunted by the Swiss police's lack of cooperation. It quickly becomes clear that there is a method and reasoning behind these mass suicides. Another disturbing fact that emerges is that all the victims are far from fringe members of society and all held high ranking jobs and places in society. Also interesting is the fact that at each site, one of the victims was shot. Through their investigation, they come up with a chief suspect, Friedrich Grosz, a very talented composer who is friends with both of the aforementioned victims. Questions swirl around Grosz and what, if any, is his involvement with these deaths. I really enjoyed the first part of the book and there is something about the author's style that I really like. But somewhere along the way, the story became a bit too tiresome and bogged down with details. Dominique goes from a woman who I liked to one that I just did not understand at all. Here was a brilliant woman, very well educated and many of her actions just did not make sense. That she is having an on/off affair with Schweigen is an established fact but then out of nowhere she is falling in love with the composer. It was very weird and and I could not really understand the sense behind it. The whole thing tries to become a love triangle between Dominique, Andre and the composer. That the composer was sometime of a dynamic character is a fact but he was also a boor with a violent temper and a forceful manner that bordered on the invasive. I just did not buy that a woman as intelligent as her would allow herself to become emotionally embroiled in such a situation and with her prime suspect. Unfortunately, the book ended up as a bit of a disappointment as it never lived up to the promise that it initially promised. By the time it is resolved, I did not care who had done what or why.
  • Rating: 4 out of 5 stars
    4/5
    I was attracted to this book by its unusual title. At the start it held my attention well, though my interest did wane somewhat once I got further in. The tension did not rise quite enough to be described as gripping. It's European, primarily French, setting and its concern with the beliefs of a mysterious religious sect reminded me somewhat of Kate Mosse's Labyrinth. I was also reminded a little of one of the biggest selling novels of recent years, albeit far better written. Which one could I possibly mean? Am I speaking in code?
  • Rating: 4 out of 5 stars
    4/5
    The Strange Case of the Composer and His Judge: A Novel by Patricia Duncker is a wonderful European mystery involving a mysterious cult known only as the Faith. Judge Dominique Carpentier joins Commissaire Andre Schewigen in an investigation of the murder/suicide of sixteen cult members at a chateau in France.Upon discovering a mysterious book written in an unknown language, the Judge turns the investigation towards the Composer who may or may not be involved. I thoroughly enjoyed this book and am hoping that the author produces more books based around Judge Carpentier.

Book preview

The Strange Case of the Composer and His Judge - Patricia Duncker

Novalis

1

HUNTERS IN THE SNOW

The bodies were found early in the afternoon of New Year’s Day. Hunters in the forest were rounding up their dogs, pulling their hats close over their ears against the frost, and heading for home. Several centimetres of snow had fallen in the night, and by dawn, when they had set out, the air sliced their lungs and faces, clean and hard. The trails on the lower slopes remained clear, but slush and ice rendered the tracks on high ground above the rocks impassable. They bagged two hares, and watched the deer rushing through the mangled green, leaping the fallen trunks left by the storms, but let them go. The hunters waded through the snow, discouraged by the devastated landscape and blocked paths. Every endeavour to negotiate clear space was thwarted and baffled. New Year’s Day. Someone proposed a tot of eau-de-vie, hot coffee and his wife’s chocolate-cream gâteau. A small fête for the New Year. Let’s go home. They called out to one of their number who was pissing against a pile of frozen logs. But he didn’t move or turn. He had seen something strange in the clearing below him.

This man, who lived just eight kilometres away from the white space where the bodies were discovered, had already seen the cars, five of them, massed at odd angles around the holiday chalet where, it was assumed, the gathering had passed their last night. He had noted the registrations – not one from the local department – and the wealth to which the vehicles bore witness: two Land Cruisers, 4 × 4s, a Renault Espace, a plush black Mercedes. Big slick vehicles from Paris, Nancy, Lyon. One of the cars was registered in Switzerland. He had noticed the CH sticker on the boot. But at that moment, when he raised his eyes from the steaming arc of his own piss, he did not associate the pattern in the snow beneath him with the visitors to the mountains. He peered forwards, uncertain. Were they tree trunks, already severed and arranged, awaiting transport? Surely he imagined the bare patches in the bark, which looked like faces, and the branches splintered open, like palms facing upwards. Two of his friends trudged over to his side and followed his stare down the rock face to the clearing.

All at once they knew that these were people, real people, tranquil, beautiful, arranged in a symmetrical half-circle, lying in the snow beneath them, and that every single one was dead.

There is no need for urgency if death has gone before us. Yet still they hurried, clambered in rapid silence down the icy fissure in the rock face, shouldering their guns, scuffing their gloves on the boulders. Quick! We must get to them. We must call for help. The dogs whined, yelped, then set off round the longer sloping route through the trees, their noses snuffling the hardening snow. They blundered downward, frightened, eager. But when they stood, puffing and confused, their breath condensing in clouds, before the silent, frozen forms, lapped in fresh snow, they lost all inclination to speak or act. They held back their dogs and spoke in whispers.

‘Appelle les pompiers. Et les flics. Call the emergency services. And the cops. Qu’est-ce que tu attends? What are you waiting for? Go on, do it.’

The hunter’s hands, which had killed many times and were always steady on his gun, now slithered and twitched over the buttons on his mobile phone. His dog circled the bodies, wary, uncertain.

But the signal fluctuated. How many? Where? You’re breaking up. Give me your exact position. The hunter gestured helplessly to his friends, and now they all had an opinion. This is the easiest way to find us. This is the road to take. Mais non, passe-moi le portable! Each one of them knew the body of the forest like a lover, all her secrets fingered and touched. They had walked every trail in all seasons; they knew the thickets, the buried cleft with the soft falling water, the deep pools. They nosed out the scents of the forest with an instinct as uncanny and subtle as their dogs. They knew every sound, every spoor, could smell the earth as keenly as the creatures they hunted: moss, water, fear. They would stand silent for hours, watching over their prey, tenderly plotting their kill, with the impassioned concentration of a bridegroom, waiting for the beloved to stir. Now they huddled together at the edge of the clearing, giving one another advice, puzzled, insecure, their voices lowered, not out of respect for the frozen dead, but in case they could hear.

Eventually it was decided that one of them should descend to the lower trails, where the mobile phone could locate a clear signal and the emergency services, taking the dogs with him, to wait at the crossroads where the tarmac ended and their abandoned vans nuzzled the forest. He could guide the police, pompiers, premiers secours, all the necessary procession which promised the help no longer needed. As he tramped away into the misty, declining light the others gathered together, fearful guardians of whatever had been accomplished in the clearing on the brink of the ravine. They did not study the bodies but looked out over the snowy hills and shattered tunnels of broken trees. Mist boiled in the distant valleys; the white light, deepening to blue, veiled the horizon. The best of the day had already gone.

They began counting the dead.

The bodies lay close together, woven into a pattern. Nine adults, partially exposed in the soft wash of snow, stretched out upon their backs, settled into a sedate, reclining curve. Their elbows were bent back, their hands raised, palms facing upwards, as if they had all completed a complex movement in the dance, and died in the very act. The hunters did not pry too closely, but stood back enthralled, for they were used to death. The dead and the moment of dying accompanied them through the forest, their daily companions, who held no secrets from them. But this was an event of a different order. The black fixed eyes gaped open, gazing at the winter sky, their lashes and eyebrows white with frost. The hunters kept their distance, not because they were afraid, but because they were disturbed by the bodies of the children.

The children formed a smaller group, nestled at the feet of the adults, like loyal greyhounds carved on the tombs of heroes. The curled figures were wearing pyjamas beneath their outdoor coats and heavily swaddled in blankets; their arms and fingers tucked away, invisible in gloves and mittens. Two of them embraced half-chewed fluffy animals, a panda, a small grey koala bear. The youngest child looked tiny, perhaps just over a year old. Who would murder little children and then lay them with such careful tenderness at their parents’ feet? The woods cracked and whispered with the coming frost. As the light shrank into the pines the hunters heard the murmur of diesel engines, then voices approaching from the left, at last, the crunch of heavy boots breaking the snow’s crust. Dark figures, laden with bulky equipment, arc lights, cameras, grey plastic coffins roped to sledges, rose towards them, moving slowly through the trees.

* * *

The officer in charge of the police investigation rummaged in the pockets of his hooded coat. There was still enough light to make out the tracks around the half-circle of bodies. He began to draw upon a pad.

‘Vous n’avez rien touché? Are you sure you didn’t touch the bodies?’ He accused the hunters, without even looking at them.

‘We haven’t gone near the bodies.’

‘So whose tracks are these?’

Three sets of indentations in the snow marked the outer circle. The most recent belonged to the dogs.

‘Deer. Those tracks were left by deer.’

The deer had come very close. They must have stood over the dead, then gently stepped away, back into the shadowed green. The oldest marks were half filled with fresh snow. A flurry of tracks hovered near one of the bodies. This corpse occupied a central place at the circle’s core, and they could now see that it was a woman’s face, pale and shocked by the suddenness of her death, her mouth gaped slightly open, her white tongue visible. She was not young, but her face was drawn in strong lines and bold gestures, her dark hair flooded back, escaping from the furred hood of her coat. The Commissaire stared at her face for a long time, then blew on his fingers and continued drawing the scene, while his white-suited myrmidons, all looking puzzled rather than shocked, staked out the circle to include the tracks. No one looked closely at the children.

‘Any sign of the Judge yet?’ snapped the Commissaire. ‘I rang her over an hour ago.’

The hunters felt excluded from their discovery. No one asked their opinion. Why weren’t they suspects? They had seen enough crime scenes on TV to know that whoever admitted to the discovery of the body had usually committed the murder, except in the case of dead wives, where the husband, absent or present, was always the only one with the motive. And here they were, armed to the teeth, with enough ammunition to massacre the forest, yet no one had even asked for an alibi. The hunters were not ignorant men. They were trained to read signs, even small signs, a broken branch, a snapped twig, a disturbance in the waters. They watched the white ghosts of the police scientifique moving quickly, staking out the bodies, photographing each face in turn, the flash slapping the snow in a sudden white flare. And then they realised what was missing from each man’s face. No one balked on the brink of the circle as the hunters had done. They strode forth like conquerors, buckled beneath the weight of their equipment. They carried the right things. They had expected to see this strange gathering of the dead, arranged in precisely this pattern, hidden from the world on a remote outcrop in the forest. They had all known what awaited them. They had seen this before.

‘Voilà. Vous pouvez disposer. Come into the main station tomorrow morning at 9 a.m. to sign your statements. This officer will take down your names, addresses and telephone numbers. We will interview you again before the end of the week. Cartes d’identité? Thank you. And please don’t talk to the press. Do you understand that? Not a word to the journalists.’

They were dismissed.

Yet these men were the first witnesses to the events in the forest, the first to ask questions about the unfinished circle and the bodies of the children. These three men were the first to debate whether the members of the gathering had been murdered or chosen their own deaths, the first to wonder why the circle remained incomplete, the first to marvel at the children, tucked carefully into the space created beneath the feet of the men and women who had given them their lives and then, for the hunters assumed that this was so, had watched them die. The hunters strode down the ice trails, their boots leaving complete treads in the mud beneath the cracking sheets of ice, past the wooden chalet now surrounded with yellow tape, overrun with gendarmes and dark men without uniforms probing furniture, digging in suitcases. The cars were all opened, and painstakingly examined under the sizzling glare of artificial lights by men with supple white gloves, as if the machines themselves were also cadavers concealing their secrets. All the doors and windows of the chalet stood open to the leering cold.

The hunters retreated, clutching their guns, and their breath gleamed white in the twilight as they descended the mountain, climbing the fallen trunks, avoiding the police armed with chainsaws, who were clearing the trails. They could hear the muffled howls of their dogs, locked in the vans, long before the half-hidden vehicles loomed through the pines. A large dark car, wheels churning the slush, rose past them. They stepped back, nodding to the woman within. She returned their gaze with a flat blank stare. They feared that she was one of the relatives, one who had been summoned, one who already knew. Now the forest rustled with voices and the chortle of machines. The hunters slipped away.

* * *

The winter sky surrendered cold blue into engulfing dark beneath the pines as the Judge’s car, a borrowed Kangoo, one of the more recent models, fitted with four-wheel drive, lurched up the track. She surged past the startled men standing in shadow, all armed with rifles, apparently captured in the process of vanishing. The car slithered to a standstill on the rim of the scene around the chalet, which now resembled a film set, trailing wires, arc lights and cameras, the actors busy in rehearsal. The Judge wore mud-spattered boots, an old brown overcoat and red leather gloves. Everyone stood back respectfully as she hovered outside the circle, gazing inwards. Her glasses had black frames and the thick lenses glittered under the lights. No one spoke. Everybody waited to take the next cue from her. She was now the principal element to be reckoned with in this eerie drama. One of the men stepped forward.

‘Madame le Juge? Monsieur le Commissaire is waiting for you. I’ll take you up.’ He carried a large torch, which was not yet necessary as they retraced the hunters’ tracks through the pines in the half-light. The earth hardened beneath them. The Judge could smell the ice forming, a rigid, fresh smell of damp, oozing resin and wet earth.

‘There’s a sheer rock face just behind them,’ said the officer, ‘so I’ll take you round. It’s a bit longer, but enough of us have already been over the ground.’

The Judge nodded.

‘We’ll have to carry them down on stretchers. The track is blocked at too many points by fallen trees for the pompiers to get up there. And the snow’s too deep,’ he added as an afterthought.

The Judge slipped a little in the murky slush. He put out his arm to help her. She waved him away. They could hear the faint hum of activity somewhere above them. He clicked on the torch. A yellow circle of light appeared in the churned snow before their advancing boots. The faint crunch as they broke the first crust of ice steadied their passage.

‘Monsieur Schweigen told us not to touch any of them until you got here. He said that you’d want to see the pattern that they make in the snow.’

The Judge nodded again, but did not reply. The white path juddered and shook in the torchlight, then slithered into a firebreak, sliced up the vertical slope. The going was slower in deep snow. The officer waited for her as she rummaged in the powder with the toes of her boots, trying to find solid ground. She stretched out her arms like a tightrope walker, hesitated, then found her uneasy balance once again. The light renewed itself in the open, a distinct, luminous and deepening blue; but the mountain’s flank seemed to warp the space and sounds above, which sometimes ballooned outwards into the valley, so clear that she could hear individual voices, then shrank away into whispers and echoes that thumped dull against the heavy, laden green.

‘La voilà!’

Schweigen peered down the dark cliff where the rocks dripped icicles from the overhang and saw her coming, a tiny dark figure following one of his officers. He watched her bowed head and cautious steps, jubilant and relieved. She had been in Strasbourg with her brother’s family, just over an hour away, and listened without comment to his agitated, rushing talk – the hunters have found the bodies in the snow. Then she simply said that she would leave at once. And now here she was. He watched her clutching the rock to steady herself in thick fallen snow at the foot of the cliff. Red gloves. He remembered those red gloves from that long winter investigation in Switzerland. She was wearing the same red gloves and she was directly below him. As if aware of his beady stare, she looked up, raising her face to his. He stretched out his hand in greeting as if to draw her up towards him. She smiled slightly, but did not hurry. The light was almost gone. I want her to see them before the light goes, before we ignite the generator and the whole place looks like a frontier outpost under siege. He slithered towards her, engulfed in a spray of wet earth, cracking branches and hardening slush.

‘Bonne Année, Madame le Juge!’ A small wry smile appeared in her eyes. He was so close to her that his breath steamed up her lenses. She took off her glasses and wiped them on her scarf.

‘Bonne Année, André. Although best wishes do seem a little out of place here.’

He stood before her, excited as a schoolboy, full of his own prowess; he had summoned her up and she had come to him.

The Judge stepped into the blue circle of the last light on the mountains and surveyed the fan of bodies in the snow before them. The freezing gendarmes, many of them still bleary from their millennium celebrations, rustled in the slush, tense and shifty, discomfited by the tiny wrapped bodies of the children that Schweigen had forbidden them to touch. The Commissaire babbled in the Judge’s ear.

‘They celebrated their departure. We’ve found the remains of their final meal, champagne, bûche de Noël, extra presents for the children. They’d actually decorated the entire chalet.’

The Judge said nothing. She hunched her shoulders and shrank inside the hood of her winter coat, tense and bristling against the cold. For a long while she stood silent, absorbing the scene, her boots gently sinking as the melted crust of fresh snow crumbled beneath her heels. Then she set out around the periphery defined by the tape, with André Schweigen clamped to her side, gabbling quietly.

‘The hunters left prints everywhere. So did their dogs. The dogs also made those marks – that scratching in the snow. There were trails left by deer too, but those were nearly gone. More snow must have fallen in the small hours. The hunters say they didn’t touch the bodies. I don’t think they did. It’s hard to tell what the poison was. Cyanide, I should think. Like the Swiss departure. But listen, there’s one – one of them –’

Schweigen’s excitement became uncontainable. He stepped in front of her.

‘Dominique, écoute-moi bien.’ His voice dropped to a hiss. ‘One of them’s been shot. The woman at the core. Just as it happened in Switzerland. And the gun’s not there. It’s gone. We’ll comb every inch. I’ll sift snow through sieves if I have to, but I think the gun’s gone. Obviously we’ll have to wait for ballistics to confirm the facts, but I’m willing to put money on the bet that it’s the same gun. Even after six years. Someone walked away from the mountain last night. And that’s not suicide, it’s murder.’

‘Calme-toi,’ replied the Judge softly. They stopped, facing the half-circle of the enraptured dead. ‘Of course it’s murder. How could those tiny children consent to their own deaths? We’re looking at a crime scene, André, whatever the results from your ballistics lab.’

He stopped talking and took her arm. No matter what happened this was now their investigation. They were no longer trailing in the slipstream of the Swiss, who had buried the last departure, along with the dead, in a sarcophagus of platitudes: a tragic waste, incomprehensible and heartbreaking. But for Madame le Juge nothing remained incomprehensible or beyond the reach of pure reason. The mysteries of this world stained the bright radiance of eternity. Her method, tested and consistent, was to analyse the stains. They trudged onwards, the snow sucking at their boots. The Judge gazed impassive at the white faces of the dead, absorbing each one in turn, as if every detail should be remembered for ever. The smallest children were wrapped in furred cocoons, their puckered features scarcely visible. She lingered for many minutes over the fading face of the older woman at the centre of the half-circle.

Schweigen leaned into her cheek.

‘That’s her, isn’t it? The sister?’

‘Yes. That’s Marie-Cécile Laval.’

Finally the Judge stopped, stood perfectly still, and raised her eyes to the devastated forests on the surrounding slopes; the great trees, like liquidated giants, piled one upon another, their roots, naked and undignified, sprawled in their wake, the shallow holes already filled with snow. At once beautiful and desolate, the bare curves of the mountain stretched away towards the Rhine Valley and the shadows of the Black Forest in Southern Germany. The bodies all faced towards the east, to greet the rising sun. They had died in the night, certain that one short breath, wasted in this temporary world, riddled by time, was the prelude to their eternal awakening, promised in the stars.

She looked again at the huddled soundless children, tenderly enveloped in hoods, scarves, mittens. What train of reason led a woman to protect her child against the night cold then fill his mouth with poison? She slouched down into her coat, and shivered against the quiet, thickening night. Reason had nothing to do with it. Before her on the forest floor, lay an extraordinary witness to the passion, that instinctive act of love. I will never leave you; I will never abandon you in the kingdom of this world, smothered by time, age, pain, heartbreak. I shall take you with me. Lord, remember me when thou comest into thy kingdom. This day shalt thou be with me in paradise. The Judge stared at the still, frozen face of Marie-Cécile Laval. Her unimaginable act represented one last gesture of boundless love, the love that had gathered up these children and borne them forth in triumph.

* * *

The sound of a heavy vehicle thumping against the branches in the distance disturbed the motionless, iced air. The Judge raised her head like a deer at bay. Schweigen was watching her carefully.

‘Have the press got hold of it yet?’

‘We’ve had one call. The hunters found them. No matter how often you tell them not to blab, people talk.’

‘Then let’s get to work. But keep it quiet as long as you can. I’ll need to interview the men who found them. I’ll do that tomorrow morning early. Before they start seeing things in their heads and imagining details that weren’t there. Have you got all the photographs?’

‘Yes. And something even better than that.’ Schweigen presented her with the drawings, the measurements between each body carefully noted. His record of the scene looked slightly sinister, for alongside a careful diagram showing the positions of each corpse was a sketch of the older woman’s face, the open eyes and the expression of startled amazement, exactly caught.

‘That’s excellent,’ said the Judge, thrown off guard by Schweigen’s unexpected talent and the grotesque, disturbing subject.

‘I was all set for the Beaux-Arts,’ he said, with a small shrug of regret. ‘It’s harder to draw faces you’ve never seen before. She’s the only one I knew.’

The first shift of actors surrounding the spectacle began to pack up, ready to bear the bodies away from the darkening apse of the mountain; the lorries from the morgue were stuck further down the slope. The second shift of forensic experts hovered on the brink of the circle, ready to sift through the snow, their searchlights tilted at odd angles, picking out the whitened, laden branches of the pines. Schweigen was relieved that none of his team knew any of the dead and said so. The Judge stood over the men as they lifted the children, ostensibly daring them to be anything other than gentle with the stiff, small forms, but in fact giving them something else to think about, in case anyone shuddered or cracked. She eyed them carefully. Some seemed too young, far too young, to touch the dead. As each corpse was packed up and gently zipped into a yellow folded sack its outline became momentarily visible upon the forest floor, then appeared to fade. The dead left barely a shadowed trace behind them. The gathering at the foot of the rock cliffs had already melted into the past.

‘Le Parquet rang me right after you did,’ said the Judge, ‘and just as well he did. I had to listen to it all again and pretend I didn’t know. You don’t give me instructions, André, he does. If he knew that you had already been in touch with me he’d think that you were running your own private war against these people.’ She gestured towards the empty clearing, now ablaze with lights as each morsel of snow was stabbed and turned.

Schweigen, unabashed, put his drawings away inside his coat and took her arm again.

‘But aren’t you glad I did?’

The Judge smiled slightly and they set off together, concentrating on their boots, heads bowed as if they were the chief mourners, following the slow procession into the darkness and the freezing trees.

* * *

No heating was turned on in the chalet and there was no question of turning it on until the boiler and all the electrical devices in the house had been examined and cleared. The investigating team worked into the night, swathed in mufflers, their gloved hands searching, recording, collecting. Boxes of odd personal material, diaries, notebooks, wallets, car-registration documents, meal plans, the rubbish rota, dry-cleaning stubs, were all inspected, listed and removed. There was a moment of horror and excitement when the mobile phone in one of the Land Cruisers sprang into luminous life and began to sing. The relatives had still not been contacted or informed.

‘Leave it,’ snapped the Judge, noting down the incoming number. The echoes of the Christmas theme tune, ‘Jingle Bells’, died into silence. The Judge turned to Schweigen.

‘We have all their identities now. I think you can begin contacting whatever’s left of their families. Let’s look at that list.’

The chalet was privately owned and littered with the personal clutter

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