The Cold Dish

These opening chapters establish several key stylistic parameters for the novel. Walt is introduced as the narrator and protagonist, and his narration is marked by frequent literary and cultural allusions. For instance, at one point during their conversation in his home, Walt compares Vonnie to Gene Tierney, a famous actress from Hollywood’s golden age. On another occasion, Walt finds himself about to go through “the old Colonel-Mustard-in-the-library-with-the-candlestick routine” (28), a reference to the mystery board game, Clue. These references deepen Walt’s characterization as someone with wide-ranging interests and knowledge. They also pepper the novel with clues and Easter eggs. For example, the reference to Gene Tierney recalls the mystery film Laura, her most famous role. Comparing Vonnie to the titular Laura implies that she is similarly innocent of murder, but this turns out to be a red herring. Walt’s narration is also filled with his characteristic wry humor, as when he describes his makeshift shower in his still-unfinished bathroom:

I don’t know what the exact physical dynamics are that cause a shower curtain to attach itself to your body when you turn on the water but, since my shower was surrounded on all sides by curtains, I turned on the water and became a vinyl, vacuum-sealed sheriff burrito (33).

Passages like this one demonstrate Walt’s self-deprecating outlook more vividly than a mere description of his speech and outward behavior would allow.

These chapters also establish the main setting of the novel. Although inspired by real locations in northern Wyoming, Absaroka County is fictional, as is Durant, the county seat. Absaroka is a real word, however; it is the autonym used by the Crow people. Therefore, this setting foregrounds the importance of Indigenous people and cultures in the novel (and the Longmire series in general). The discovery of Jacob’s body in a remote area populated more by sheep than people highlights the potential for such larger landscapes to cover up evidence of crime just as effectively as a bustling city. Although sheep are often associated with innocence, here, they contrast with Cody, whose guilt is established as the most unrepentant of Melissa’s abusers.

In terms of character development, these chapters introduce several key figures. Vic’s initial appearance—directing traffic so that the city’s Christmas decorations can be set up—highlights the menial and mundane side of policework, particularly in a sparsely populated area like Absaroka County. Given her competence and background, this sets the stage for Walt to fear that he will lose her to a competitive job offer from somewhere else. Vic’s interactions with Walt at the crime scene and elsewhere, meanwhile, highlight their playfully antagonistic relationship. Walt is so accustomed to Vic’s lighthearted hostility that when she expresses a genuine concern for his welfare, Walt thinks that the words sound “very strange coming from Vic’s mouth” (30). Nonetheless, Walt establishes his genuine comradery with Vic when he politicks to have her replace him when she retires. The competition between her and Jules establishes them as foils for each other. Walt’s relationship with Vonnie, meanwhile, develops along more sincere and direct lines. Her introduction at the bar emphasizes her sensitivity and sadness, as she considers the fate of the animals hung as trophies. Later, her conversation with Walt in his home moves her to tears as she recalls Martha’s death. This shows her ability to empathize with others, a key element of her later reveal as the murderer.

Johnson begins to develop a major theme of Dealing With Grief in this section. Specifically, he considers Walt’s progress, or lack thereof, in grieving the death of his wife several years earlier. Despite the time that has elapsed, Walt remains stuck in a rut of self-pity and inactivity. His excitement over receiving his daughter’s calls is matched only by his eagerness to while away the hours on his couch, drinking beer and listening to static from the TV. Walt’s dark humor also emerges as a kind of coping mechanism for dealing with difficult situations, as his immediate turn to such humor at the scene of Cody’s death illustrates. Walt also occasionally jokes about Martha’s death to distract himself from the pain he feels. Within this context, Henry’s appeals to Walt illustrate that, sad as his loss remains, Walt must choose to break the cycle of grief at some point for his own good. While Henry makes Walt take concrete steps toward healing—waking him up for a run and hiring contractors to fix the house—his acceptance of these gestures shows that he’s willing to start a new chapter of his life.

This section also sees Johnson beginning to explore The Pursuit of Justice. Walt’s amusement at reading the report about Jules’s public urination illustrates the subjectivity of justice; each person responds to situations differently, feeling that justice requires different responses depending on the circumstances. Walt’s conversation with the judge, meanwhile, calls into question the extent to which the legal system serves the needs of marginalized Indigenous communities, as opposed to protecting the interests of white citizens. Finally, the number of people who find themselves accepting or even celebrating Cody’s death raises the possibility for such people to take justice into their own hands as vigilantes. This foreshadows the reasoning behind the murder, though Walt is not yet looking in the right direction.