Control your thoughts and you can control your emotions. Do you trust me? - Louise Penny

Clara Morrow had painted Ruth as the elderly, forgotten Virgin Mary. Angry, demented, the Ruth in the portrait was full of despair, of bitterness. Of a life left behind, of opportunities squandered, of loss and betrayals real and imagined and created and caused. She clutched at a rough blue shawl with emaciated hands. The shawl had slipped off one bony shoulder and the skin was sagging, like something nailed up and empty.
“And yet the portrait was radiant, filling the room from one tiny point of light. In her eyes. Embittered, mad Ruth stared into the distance, at something very far off, approaching. More imagined than real.
Hope.
Clara had captured the moment despair turned to hope. The moment life began. She’d somehow captured Grace.

Gamache nodded. It was what made his job so fascinating, and so difficult. How the same person could be both kind and cruel, compassionate and wretched. Unraveling a murder was more about getting to know the people than the evidence. People who were contrary and contradictory, and who often didn't even know themselves.

Don't mistake dramatics for a conscience.