Gamache walked over to the canvas sitting on the easel. It was unfinished. It showed a church, in bright red, almost as though it was on fire. But it wasn’t. It simply glowed. And beside it swirled roads like rivers and people like reeds. No other artist he knew was painting in this style. It was as though Lillian Dyson had invented a whole new art movement, like the Cubists or the Impressionists, like the post-modernists and Abstract Expressionists. And now there was this. Armand Gamache could barely look away. Lillian was painting Montréal as though it was a work of nature, not man. With all
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