The Goldfinch

by Donna Tartt

Over and over, I kept thinking I’ve got to go home and then, for the millionth time, I can’t.

Every new event—everything I did for the rest of my life—would only separate us more and more: days she was no longer a part of, an ever-growing distance between us. Every single day for the rest of my life, she would only be further away.

hard to believe that the world had ended and yet somehow these ridiculous activities kept grinding on.

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.

read Macbeth in the fall, but only now was it starting to make sense why Lady Macbeth could never scrub the blood off her hands, why it was still there after she washed it away.

This was embarrassing, especially since my dreams weren’t even full-blown nightmares but only troubled interludes where my mother was working late and stranded without a ride—sometimes upstate, in some burned-out area with junked cars and chained dogs barking in the yards. Uneasily I searched for her in service elevators and abandoned buildings, waited for her in the dark at strange bus stops, glimpsed women who looked like her in the windows of passing trains and just missed grabbing up the telephone when she called me at the Barbours’ house—disappointments and near-misses that thumped me around and woke me with a sharp hiss of breath, lying queasy and sweaty in the morning light. The bad part wasn’t trying to find her, but waking up and remembering she was dead.

‘the world won’t come to me,’ he used to say, ‘so I must go to it’—”

I floated on my back, trying to pick out constellations I knew in the confusing white spatter of stars: Lyra, Cassiopeia the queen, whiplash Scorpius with the twin stings in his tail, all the friendly childhood patterns that had twinkled me to sleep from the glow-in-the-dark planetarium stars on my bedroom ceiling back in New York. Now, transfigured—cold and glorious like deities with their disguises flung off—it was as if they’d flown through the roof and into the sky to assume their true, celestial homes.

Quickly I slid it out, and almost immediately its glow enveloped me, something almost musical, an internal sweetness that was inexplicable beyond a deep, blood-rocking harmony of rightness, the way your heart beat slow and sure when you were with a person you felt safe with and loved.

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.

But me,” he said, toying with a cigarette, “I was trying to have fun and be happy. You wanted to be dead. It’s different.”

Maybe sometimes—the wrong way is the right way? You can take the wrong path and it still comes out where you want to be? Or, spin it another way, sometimes you can do everything wrong and it still turns out to be right?” “I’m not sure I see your point.” “Well—I have to say I personally have never drawn such a sharp line between ‘good’ and ‘bad’ as you. For me: that line is often false. The two are never disconnected. One can’t exist without the other. As long as I am acting out of love, I feel I am doing best I know how.

“Well—let’s put it another way. Who was it said that coincidence was just God’s way of remaining anonymous?”

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.

And as much as I’d like to believe there’s a truth beyond illusion, I’ve come to believe that there’s no truth beyond illusion. 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.

That life—whatever else it is—is short. That fate is cruel but maybe not random. That Nature (meaning Death) always wins but that doesn’t mean we have to bow and grovel to it. That maybe even if we’re not always so glad to be here, it’s our task to immerse ourselves anyway: wade straight through it, right through the cesspool, while keeping eyes and hearts open. 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.