They are early for the appointment and, after exiting a very smelly cab in nauseous disgust (“Hawaiian Tropic and baby poo?”), find themselves caught in a rainstorm outside the Metropolitan Museum of Art. The Met is featuring a massive exhibition of Dutch Art (Portraiture and Nature Morte) and Theo’s mother, trained in art history, decides they should pop in for a quick visit (“we can’t see it all on this visit, but there are a few things”). They do a quick tour, during which Theo pays more attention to a striking red-headed girl of his own age than he does to the paintings.
They separate when Theo’s Mom heads to the gift shop — and there is a massive explosion. When Theo regains consciousness, he finds himself in a gallery with the broken body of the white-haired man (grandfather?) who was accompanying the red-headed girl. After some confused non-conversation (the older man seems to be remembering disasters from his past), the moment that will propel the novel occurs:
He was, I saw, pointing over at a dusty rectangle of board, virtually invisible in the broken beams and rubbish, smaller than my laptop computer at home.
“That?” I said, looking closer. It was blobbed with drips of wax, and pasted with an irregular patchwork of crumbling labels. “That’s what you want?”
“I beg of you.” Eyes squeezed tight. He was upset, coughing so hard he could barely speak.
I reached out and picked the board up by the edges. It felt surprisingly heavy, for something so small. A long splinter of broken frame clung to one corner.
Drawing my sleeve across the dusty surface. Tiny yellow bird, faint beneath a veil of white dust. The Anatomy Lesson was in the same book actually but it scared the pants off me. [That’s an observation Theo’s mother had made about the painting before the explosion.]
The painting is Fabritius’ 1654 masterpiece, The Goldfinch, which supplies the novel’s title. Theo will pick it up and, when the emergency crews evacuate the Met in fear of another explosion, walk away with it unchallenged — an act that will define the rest of his life, as he protects and treasures the masterpiece he has “stolen”.
The incident also introduces two other themes that will continue throughout the 771-page novel. The first is that girl — Pippa — who will float in and out of Theo’s future life, his ardour for her never failing. And that older man, after convincing him to take the painting, also gives him a ring before he dies: “Hobart and Blackwell,” he said, in a voice like he was drowning from the inside out. “Ring the green bell.” It is when Theo returns the ring that he meets Hobie, who will prove to be the only positive adult force in his life.
Those three themes of painting, Pippa and Hobie may extend through the novel, but it follows anything but a steady, straight-forward course. The Goldfinch plot unfolds in a series of lengthy, widely-different episodes:
I have focused so far on plot, because for this reader that was the strongest aspect of The Goldfinch. Much of the narrative, however, consists of Theo’s internal musings — while I found them far less interesting, it is only fair to offer an example. Here is the way the novel opens:
While I was still in Amsterdam, I dreamed about my mother for the first time in years. I’d been shut up in my hotel for more than a week, afraid to telephone anybody or go out; and my heart scrambled and floundered at even the most innocent noises: elevator bell, rattle of the minibar cart, even church clocks tolling the hour, de Westertoren, Krijtberg, a dark edge to the clangor, an inwrought fairy-tale sense of doom. By day I sat on the foot of the bed straining to puzzle out the Dutch-language news on television (which was hopeless, since I knew not a word of Dutch) and when I gave up, I sat by the window staring out at the canal with my camel’s-hair coat thrown over my clothes — for I’d left New York in a hurry and the things I’d brought weren’t warm enough, even indoors.
The Goldfinch is only Tartt’s third novel and I admit that I was looking forward to it. The Secret History, her debut, remains a favorite — a complex and improbable plot is delivered successfully and along the way she supplies concrete substance to a wide cast of characters. The Little Friend was far less successful, although still an enjoyable read.
Alas, for this reader, The Goldfinch is much more like The Little Friend than The Secret History. Like the debut novel, the plot here is complex and improbable — Tartt does not deal with it nearly as a well.
A bigger problem was the cast of characters. Plot alone cannot sustain a novel of this length — the characters need to be fully-developed and interesting and that is where The Goldfinch came up short. For my tastes, Theo was just too shallow to engage me; when the narrative headed off into his inner thoughts, I found myself reluctantly following along, waiting for the action to pick up again. And the secondary cast was equally frustrating — Boris never really landed with me, the Barbours were caricatures and only Hobie sparked substantial interest.
I have read a number of reviews (both in the professional press and from bloggers) of The Goldfinch that were far more positive than this one, so take my lack of enthusiasm with a grain of salt. Theo (and Boris) are far more impressive to these readers than they were for me — perhaps my memory of The Secret History led to too high expectations. There is no doubt that Tartt is an impressive writer; I just think that her 1992 debut showcases those talents much better than this novel does.