The Secret History

by Donna Tartt

For if the modern mind is whimsical and discursive, the classical mind is narrow, unhesitating, relentless.

“Why does that obstinate little voice in our heads torment us so?” he said, looking round the table. “Could it be because it reminds us that we are alive, of our mortality, of our individual souls—which, after all, we are too afraid to surrender but yet make us feel more miserable than any other thing? But isn’t it also pain that often makes us most aware of self?

“Death is the mother of beauty,” said Henry. “And what is beauty?” “Terror.” “Well said,” said Julian. “Beauty is rarely soft or consolatory. Quite the contrary. Genuine beauty is always quite alarming.”

“We don’t like to admit it,” said Julian, “but the idea of losing control is one that fascinates controlled people such as ourselves more than almost anything.

“Because it is dangerous to ignore the existence of the irrational. The more cultivated a person is, the more intelligent, the more repressed, then the more he needs some method of channeling the primitive impulses he’s worked so hard to subdue. Otherwise those powerful old forces will mass and strengthen until they are violent enough to break free, more violent for the delay, often strong enough to sweep the will away entirely.

Beauty is terror. Whatever we call beautiful, we quiver before it. And what could be more terrifying and beautiful, to souls like the Greeks or our own, than to lose control completely?

If we are strong enough in our souls we can rip away the veil and look that naked, terrible beauty right in the face; let God consume us, devour us, unstring our bones. Then spit us out reborn.”

Beauty is terror. Whatever we call beautiful, we quiver before it. That night I wrote in my journal: “Trees are schizophrenic now and beginning to lose control, enraged with the shock of their fiery new colors. Someone—was it van Gogh?—said that orange is the color of insanity. Beauty is terror. We want to be devoured by it, to hide ourselves in that fire which refines us.”

It is here that the stilted mannequins of my initial acquaintance begin to yawn and stretch and come to life. It was months before the gloss and mystery of newness, which kept me from seeing them with much objectivity, would wear entirely off—though

I suppose there is a certain crucial interval in everyone’s life when character is fixed forever;