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64 pages 2 hours read

Joanne Harris

Chocolat

Fiction | Novel | Adult | Published in 1999

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Chapters 9-16Chapter Summaries & Analyses

Chapter 9 Summary: “Wednesday, February 19”

Vianne prepares chocolate, comparing this process to sorcery. Her mother saw food as a trivial necessity only, but Vianne compares it to her use of tarot to direct their travels: She associates different recipes with places and cultures, seeing magic in this. Her mother taught her to read and charm people; when Vianne gifts people their favorite chocolates, she uses the same skill, but she gives without gain. She thinks of the spiritual and sensory significance of chocolate in South America before Western, Christian incursion. She describes herself as “scrying” using the chocolate. She has a vision of an old man in a bed and fire, wondering if this is Reynaud’s secret.

Chapter 10 Summary: “Wednesday, February 19”

Reynaud tells his père how disturbing he finds Vianne. The shop’s perfumed décor reminded him of a boudoir, and he tried not to look, but he describes both the confectionary and Vianne’s appearance in detail. He sees her as an enemy spreading discord. He remembers how he and his père worked hard to expel an itinerant houseboat community, preaching to convince the villagers to ostracize them and eventually convincing Narcisse, who wanted to employ them seasonally on his farm. He describes his prejudiced view of them and his fear that Vianne’s influence may allow their return. He reveals that he pressured the schoolteacher Joline into forbidding her son, Jeannot, from playing with Anouk. He laments the weakness of the villagers compared to his own obsessive fasting.

Chapter 11 Summary: “Thursday, February 20”

After Vianne’s regulars (Georges, Narcisse, and Guillaume) have left, Josephine enters the shop. She pays for the packet she stole, claiming that it was an accident. Vianne gives her hot chocolate. Josephine bursts out in distress that if someone steps outside the norm in the village, they are ostracized. Reynaud and Josephine’s husband, Muscat, watch Josephine leave the shop. Anouk goes to play with her friends in Les Marauds, where no adults go, so that they cannot forbid her from playing with their children. Muscat comes in and is sleazy toward Vianne, who senses his violent tendencies. He asks why his wife was spending his money; Vianne says that she invited Josephine in as a friend. She gives him a packet for Josephine, knowing that he will take it himself, as chocolate he’s taken from someone else is his favorite type of chocolate.

Chapter 12 Summary: “Friday, February 21”

Vianne and Anouk joke affectionately before she rushes out with Pantoufle, wrenching Vianne’s heart. Guillaume visits. He has bought special sausage for Charly but worries that maybe dogs should also fast for Lent. He leaves the shop carrying Charly. Armande enters, and Vianne gives her hot chocolate, which she revels in as a rich treat forbidden by Caro. She mourns her relationship with her grandson, Luc, whom Caro won’t let her see. She tells Vianne that Reynaud is the Black Man by whom Vianne feels haunted.

Later, Vianne reads her mother’s tarot cards. She draws Death, remembering that this card also signifies change. She thinks that the cards are a manifestation of a person’s concerns. She says farewell to her mother, resolving not to read the cards again and to stay here to face what the wind brings.

Chapter 13 Summary: “Sunday, February 23”

Reynaud confesses to his père that he has sinned: He feels empty praying in church, despite its ornate saintly figures. He dreamed of great sacrifice but feels sucked into the pettiness of his parishioners. He fasts more stringently and decides to torment himself by staring at the rotisserie chickens. He plans to complain about Vianne’s shop to the bishop and the planning office. He describes her colorful raincoat and how she leaves her hair uncovered when it rains. Her shop is warm and scented, and she is chatty and familiar with the many villagers who go in. The village children play with Anouk, despite his attempts to discourage this.

Reynaud’s greatest concern is the houseboats that have arrived. Reynaud expresses his hatred for Romani and other itinerant people, painting them as immoral and lazy. He describes confronting a red-headed man (Michel Roux), who performs a forked hand gesture toward him. Reynaud struggles to understand Roux’s accent. Roux dismisses his instruction to leave, to laughter from others in the boats. Armande then tells Reynaud that the people are moored in front of her house with her blessing, so he cannot drive them out for trespassing. She criticizes how he’s changed, revealing that he grew up in Les Marauds—knowledge that he hopes will die with her. Reynaud vows to his père to rally his parishioners to oust them, showing Vianne that she cannot win against him and the church.

Chapter 14 Summary: “Monday, February 24”

Caro comes into the shop and asks Vianne to display a card banning vagrants, but Vianne refuses, asserting that people can live how they want to. Caro tries to discredit Armande as crazy. Vianne has a vision that Luc secretly cherishes a Rimbaud poetry book that Armande got him. She offers him a chocolate and invites him to see his grandmother in the shop. Caro discourages both, but Luc surreptitiously agrees. Later, Vianne tells Armande, who scorns Caro for forbidding chocolate, saying that Luc needs to live.

Vianne goes into Muscat’s café, Café de la République, which displays one of Caro’s cards. She asks after Josephine, who was evasive earlier. Muscat is disparaging of his wife and again leers at Vianne. He denies entry to five Romani people, including Roux. Vianne leaves with them, inviting them to her shop the next day for something on the house; they are noncommittal. Josephine intercepts Vianne on the way back. They talk about Muscat’s abusive and controlling behavior—he beat her for trying to serve the river people and says that she is ugly compared to Caro, at whom he looks in church. Vianne promises that she now has someone to turn to.

Chapter 15 Summary: “Tuesday, February 25”

Vianne disassembles her window display, sharing the goods with Anouk and her friends. Jeannot says that she should make a new display for Easter. Vianne recalls seeing lavish Easter chocolates and treasuring the meagre little treat that her mother could afford. Her mother told her fantastical stories, borrowing from different cultures and belief systems to create a tale connecting chocolate to Easter bells. The children beg her for a grand festival of chocolate; she agrees. Jeannot and Anouk make a decorated poster together. Vianne works on a sumptuous window display. She manifests a feeling of welcome to draw people in, countering Caro’s hostility to the travelers. Armande visits; Vianne notices that she wears red underwear beneath her black clothes. She insists on sugar in her chocolate drink. She brought the Romani people supplies in return for their work on her roof, preferring them to Georges. Just as she gives up on Luc ever coming, Luc arrives to see her, having snuck away. He brings the poetry book; Armande asks his favorite poem, and when he reads it, he no longer has a stutter. They drink chocolate together, despite Caro’s warnings that it will give him spots. Later, Vianne has a vision of the Black Man in the church tower turning the machinery and standing over an old man in a bed full of tubes. She asks if that’s Reynaud’s father, and Armande just says that he is another priest.

Chapter 16 Summary: “Wednesday, February 26”

When opening the shop, Vianne finds Roux waiting outside in the drizzle. Inside, she gives him chocolate to drink. He is wary but friendly to Anouk, calling her a “little stranger.” He reluctantly asks for a favor, stressing that he doesn’t want money. Georges is the only supplier of the materials that he needs to mend Armande’s roof but refuses to sell to him. Vianne offers to ask Georges for the materials instead. She offends Roux by offering him a pastry on the house, but she explains that she has gifted something to everyone in the village, regardless of their character. He invites her and Anouk to visit him next time. He leaves when Vianne’s regulars arrive. Charly is sicker, and Guillaume lingers longer than normal. Reynaud has belittled his love for Charly again. Guillaume is visiting the vet this morning but clings to hope, saying that he’ll know when it’s time. Vienne thinks of her mother deteriorating slowly with cancer. She muses that eventually, you have to accept death and save some dignity. She would choose a painless death with a loving presence. She realizes that she has spoken aloud; they say farewell, and Guillaume leaves carrying Charly.

Chapters 9-16 Analysis

In this section, Harris further develops key themes including Pleasure Versus Denial and The Importance of Spirituality. She explicitly considers the connection between pleasure and spirituality, contrasting Vianne’s and Reynaud’s approaches. Vianne describes the heady sensations of creating beautiful, aromatic chocolate. Her pagan-inspired framework connects sensual potency to spiritual significance, relating this to chocolate’s role in the South American cultures from which it originated: “the food of the gods, bubbling and frothing in ceremonial goblets” (78). While this description exoticizes and misrepresents Indigenous people from that area, Vianne’s association of the magical qualities of chocolate with South America implicitly references the central role that writers from this continent played in developing the magical realism genre, through authors such as Gabriel García Márquez and Isabelle Allende. To Vianne, strong sensory pleasure relates to the state of being alive and is therefore inherently spiritual.

This approach is in sharp juxtaposition to Reynaud’s, who views sensory pleasure as the antithesis to spiritual well-being. He pursues self-denial, or asceticism, as an act of devotion. However, his hostility to the chocolate shop borders on obsession: He gives detailed descriptions of the sights and smells of the shop but also of Vianne, as the sensory experiences of the two merge for him. Reynaud describes how “there is more than a suspicion of the boudoir about the place, an intimate look […] my mother’s room had just such a look” (80). Harris shows that he connects the sensory pleasure of chocolate to sex or sensuality, of which Catholicism is wary, connecting it to original sin. However, she also hints at a more personal reason for Reynaud’s mix of horror and fascination with these sensory experiences: He recalls his mother’s room. This seems out of place in the sensual description he gives of the chocolate shop, foreshadowing the complex Intergenerational Influences that have impacted his relationship to pleasure since seeing his mother have sex. In response to this environment, Reynaud tries “not to look, not to smell” (80), imposing self-denial on himself in the face of sensory possibility.

Harris also considers sensory pleasure in relation to the idea of agency. Caro tries to stop both her mother and son from eating chocolate, on the grounds that it’s bad for their health. However, Armande wants Caro to “[l]et him loose. Let him breathe” (121). She acknowledges that Caro’s restrictions may come from worry but asserts Luc’s need for freedom. She views pleasure and freedom as co-existent, and the freedom to choose sensory pleasure is represented by the chocolate. Her gift of Rimbaud’s poetry, secretly cherished by Luc, supports this idea. Rimbaud was a transgressive libertine who flouted social norms to pursue his desires and ran away from home seeking self-determination. These elements of his life reflect Armande’s values and those she wants to pass on to Luc: a pursuit of pleasure with agency.

However, Guillaume and Charly represent a more complex relationship between pleasure and agency. He has bought Charly a special sausage that he usually loves, but Charly is now so sick that he doesn’t want it. Charly, as a dog, does not have a way to make a choice, so Harris shows that sensory pleasure is not something that can solve all problems and may not represent what a person or creature would choose. Vianne remembers her own mother’s final days and says, “If I had a choice I’d take this one. The painless needle. The friendly hand” (156). This suggests the importance of agency over pleasure; Vianne’s view of Charly and her memories of her mother remind her that one cannot use pleasure to outrun mortality.

Harris also expands on the central theme of The Power of Community in this section. Josephine seeks out Vianne’s company twice, eventually confiding in her about her husband’s abuse despite her being a new arrival in the village. Though she has been part of a small village community, she has been isolated from it: In this village, if you’re different, “[y]ou’re crazy, you’re abnormal and people—talk—about—you behind your back” (87). She cannot imagine leaving him, as the parameters of socially accepted behavioral in the village trap her. Similarly, Harris shows how a tight-knit community can be prone to hostility toward outsiders: Caro, Muscat, Joline, and others come together to begin a social campaign against the Romani community, barring them from shops and bars.

However, Harris also shows the power of community bonds to overcome opposition and offer support to people. The people in the houseboats have formed their own community, and they support each other in the face of the villagers’ prejudices. Armande and Vianne come together with that community, forging their own social bonds and offering practical support, which in turn benefits them: Roux works on Armande’s house, which the houseboats moor outside so that they are not trespassing; Vianne helps them procure materials to circumnavigate Georges’s prejudice, and they frequent her shop. Harris shows the power of community bonds to mutually benefit everyone.

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