The Goldfinch

by Donna Tartt

It’s crazy,” she’d said, “but I’d be perfectly happy if I could sit looking at the same half dozen paintings for the rest of my life. I can’t think of a better way to go insane.”)

it had the sedate, meandering feel of a backwater, a certain vacuum-sealed calm: long sighs and extravagant exhalations like a room full of students taking a test.

But sometimes, unexpectedly, grief pounded over me in waves that left me gasping; and when the waves washed back, I found myself looking out over a brackish wreck which was illumined in a light so lucid, so heartsick and empty, that I could hardly remember that the world had ever been anything but dead.

We belonged together; there was a dream rightness and magic to it, inarguable; the thought of her flooded every corner of my mind with light and poured brightness into miraculous lofts I hadn’t even known were there, vistas that seemed to exist not at all except in relationship to her.

She was the golden thread running through everything, a lens that magnified beauty so that the whole world stood transfigured in relation to her, and her alone.

Most people seemed satisfied with the thin decorative glaze and the artful stage lighting that, sometimes, made the bedrock atrocity of the human predicament look somewhat more mysterious or less abhorrent. People gambled and golfed and planted gardens and traded stocks and had sex and bought new cars and practiced yoga and worked and prayed and redecorated their homes and got worked up over the news and fussed over their children and gossiped about their neighbors and pored over restaurant reviews and founded charitable organizations and supported political candidates and attended the U.S. Open and dined and travelled and distracted themselves with all kinds of gadgets and devices, flooding themselves incessantly with information and texts and communication and entertainment from every direction to try to make themselves forget it: where we were, what we were.

I looked and feeling bewildered and uneasy as the great democratic world swept and surged around me once more: grandparents, students, weary young-marrieds and little kids dragging backpacks; shopping bags and Starbucks cups, rattle of suitcase wheels, teenagers collecting signatures for Greenpeace, back in the hum of human things.

Life: vacant, vain, intolerable. What loyalty did I owe it? None whatsoever. Why not beat Fate to the punch? Throw the book on the fire and be done with it?

Harpstrings of light through the barred windows of our old apartment on Seventh Avenue, scratchy sisal matting and the red waffled texture it left in my hands and knees when I was playing down on the floor. A tangerine party dress of my mother’s with shiny things on the skirt I always wanted to touch. Alameda, our old housekeeper, mashing plantains in a glass bowl. Andy, saluting me before stumbling down the gloomy hall of his parents’ apartment: Aye, Captain. Medieval voices, austere and otherworldly. The gravity of unadorned song.

The wet sleet pelting against the windowpanes had a kind of deep historical weight to it, starvation, armies marching, a never-ending drizzle of sadness.

“Who’s to say that gamblers don’t really understand it better than anyone else? Isn’t everything worthwhile a gamble? Can’t good come around sometimes through some strange back doors?”

images that strike the heart and set it blooming like a flower, images that open up some much, much larger beauty that you can spend your whole life looking for and never find.

And in between, I’ve been in a kind of bardo state, flying around in a gray roar, climbing with drop-spattered windows to laddered sunlight, descending to rainclouds and rain and escalators down and down to a tumble of faces in baggage claim, eerie kind of afterlife, the space between earth and not-earth, world and not-world, highly polished floors and glass-roof cathedral echoes and the whole anonymous concourse glow, a mass identity I don’t want to be a part of and indeed am not a part of, except it’s almost as if I’ve died, I feel different, I am different, and there’s a certain benumbed pleasure in moving in and out of the group mind, napping in molded plastic chairs and wandering the gleaming aisles of Duty Free and of course everyone perfectly nice when you touch down, indoor tennis courts and private beaches and—after the obligatory tour, all very nice, admiring the Bonnard, the Vuillard, light lunch out by the pool—a hefty check and a taxi ride back to the hotel again a good deal poorer.

the pursuit of pure beauty is a trap, a fast track to bitterness and sorrow, that beauty has to be wedded to something more meaningful.

A great sorrow, and one that I am only beginning to understand: we don’t get to choose our own hearts. We can’t make ourselves want what’s good for us or what’s good for other people. We don’t get to choose the people we are.

From William Blake to Lady Gaga, from Rousseau to Rumi to Tosca to Mister Rogers, it’s a curiously uniform message, accepted from high to low: when in doubt, what to do? How do we know what’s right for us? Every shrink, every career counselor, every Disney princess knows the answer: “Be yourself.” “Follow your heart.”

Because: if our secrets define us, as opposed to the face we show the world: then the painting was the secret that raised me above the surface of life and enabled me to know who I am. And it’s there: in my notebooks, every page, even though it’s not. Dream and magic, magic and delirium. The Unified Field Theory. A secret about a secret.

I think of something I read about Sargent: how, in portraiture, Sargent always looked for the animal in the sitter (a tendency that, once I knew to look for it, I saw everywhere in his work: in the long foxy noses and pointed ears of Sargent’s heiresses, in his rabbit-toothed intellectuals and leonine captains of industry, his plump owl-faced children). And, in this staunch little portrait, it’s hard not to see the human in the finch. Dignified, vulnerable. One prisoner looking at another.

The historical significance deadens it. Across those unbridgeable distances—between bird and painter, painting and viewer—I hear only too well what’s being said to me, a psst from an alleyway as Hobie put it, across four hundred years of time, and it’s really very personal and specific. It’s there in the light-rinsed atmosphere, the brush strokes he permits us to see, up close, for exactly what they are—hand worked flashes of pigment, the very passage of the bristles visible—and then, at a distance, the miracle, or the joke as Horst called it, although really it’s both, the slide of transubstantiation where paint is paint and yet also feather and bone. It’s the place where reality strikes the ideal, where a joke becomes serious and anything serious is a joke. The magic point where every idea and its opposite are equally true.

Because, between ‘reality’ on the one hand, and the point where the mind strikes reality, there’s a middle zone, a rainbow edge where beauty comes into being, where two very different surfaces mingle and blur to provide what life does not: and this is the space where all art exists, and all magic.

And just as music is the space between notes, just as the stars are beautiful because of the space between them, just as the sun strikes raindrops at a certain angle and throws a prism of color across the sky—so the space where I exist, and want to keep existing, and to be quite frank I hope I die in, is exactly this middle distance: where despair struck pure otherness and created something sublime.

And in the midst of our dying, as we rise from the organic and sink back ignominiously into the organic, it is a glory and a privilege to love what Death doesn’t touch.