Finch: Orphanism: Chp 1-4

[Andrew, Wound Up]

***Open discussion of Chapters 1-4 below, no spoiler marks needed. Be sure you have read through Chapter 4 before reading! Note: if this is your first visit to this topic I recommend you read this post about discussion ideas, then skip down and post your initial response, then read and respond to other people's posts.***

At the very least check in here when you finish this section and tell us if you are enjoying the book. I'll post specific discussion ideas below, along with some general topics we'll see repeated throughout the book.

Chapter 1-4 discussions:

1) Discuss the role of secrets in the story.

2) Why does Theo develop a kinship with Hobie?

General Discussions:

1) Share your favorite quote(s) from this section.

2) Share your favorite word(s) used in this section.

3) Do you have a favorite or most intriguing character at this point in the novel?

Location reminder

If you are returning to this topic after having continued past this section, here is a plot reminder:

Leaving (for) Las Vegas.

GO!

[Andrew, Wound Up]

Donna Tartt's pacing throughout the whole scene at the Met may be one of the most astounding literary feats I have ever read. I'm in love with this book and can't wait to continue the story - even though I am horribly upset that Theo has been pulled away from such a superb potential foster family. I've seen my wife cringing as she read ahead in the next section and have a bad feeling about Vegas, just like in real life.

Secrets. I want to start by reviewing Theo's secrets, this will be a bit long, then I'll come back around to a more general discussion.

Even before Theo's father had left he and his mother had developed a close and private bond. The two of them were conspirators in life, fighting against the trials of the world with only each other for support. This is displayed so starkly after the explosion when Theo returns home and has nobody to call. Reading that section was tragic as I realized how alone he had become.

In relaying the story Theo blames his mother's death on a series of white lies and withheld information. His suspension was caused by a downward spiral at school which would likely have been prevented if he had talked more openly with his mother, about both his actions and his feelings about his father leaving. He hides things for absolutely normal or logical reasons: not pestering about the restaurant because he is in trouble, not mentioning he is staying behind because of the girl in the museum.

The next series of secrets is likely caused by Theo's grief and shock. He doesn't share with anyone his concerns about his grandfather's abusiveness or his father's drunkenness. These omissions lead to an ongoing anxiety about his short term destiny as the adults around him consider options they know are poor but only he knows are terrible.

The most direct lies of Theo's are related to his possession of the painting (and the ring). This fact snowballs into him being unable to share the story about what he saw with the investigators. I personally find that part of processing trauma is being able to express your story to someone - young Theo is forced to keep everything to himself.

The only acknowledged lies come near the end of the section. Theo lies, and feels bad about it, to Hobie when talking about Welty's death. He also lies (and doesn't feel bad) about the key to his father.

Finally, there is the constant necessity of hiding one's emotions that grief requires. Theo must mask his emotions whether hiding his tear streaked face or allowing himself to be forced to return to school.

This section of the novel revolved around these secrets for me - and they defined Theo's relationship with adults. Theo starts the story as a 13 year old child who withholds normal information from his mother. His reasoning is often motivated by selfishness.

As Theo clams up in the immediate aftermath of his mother's death his decisions to not share information about his paternal side of the family are still childish - but not selfish. He is showing a deferential attitude towards adults in general. At this same moment the world starts keeping secrets from him in the form of hidden newspapers and quiet deference.

The Goldfinch lies appear straightforward at first glance but become more complex when reviewing his mother's thoughts about the painting. People die, sure. But it's so heartbreaking and unnecessary how we lose things. ... I guess that anything we manage to save from history is a miracle. Has Theo entered into a final contract with his mother?

The lies near the end of the section begin to show Theo the adult. When talking to Hobie he is trying to keep from emotionally hurting him. He inadvertently learns that he may not have heard the true story about how his mother died by hearing Hobie's reaction. Lying to his father and bringing other adults complicitly into the situation displays Theo's understanding that he must now take care of both himself and whatever he can salvage of his mother's legacy (the painting).

Hobie. Theo approaches Hobie as an adult. He doesn't "need" anything from Hobie, conversely he is giving up the ring which holds both value and meaning to him. Hobie isn't a guardian or protector and accepts the relationship at face value. Theo is surrounded by adults who are trying to help him, but in this situation he is the one who provides assistance by telling parts of his story at the museum. Hobie becomes a mentor to Theo because he doesn't base their relationship on his ability to help Theo.

Quotes. ...still when I lost her I lost sight of any landmark that might have led me someplace happier...

With a benumbed heaviness like moving through snow, I ...

I talked about my love of the pacing - this is an example of a frantic section near the end of the scene: It pushed open with a bark. Down a stairwell I ran, twelve steps, a turn at the landing, then twelve steps to the bottom, my fingertips skimming on the metal rail, shoes clattering and echoing so crazily that it sounded like half a dozen people were running with me.

I love Mr. Barbour: "Perhaps it's incorrect of me, but in the circumstances I wouldn't see the harm in pouring you what my father used to call a minor nip. If you should happen to want such a thing. Which of course you don't," he added hastily, noting my confusion. "Quite unsuitable. Never mind."

Sometimes I wondered exactly what it might take to break Andy out of his math-nerd turret: a tidal wave? Decepticon invasion? Godzilla tromping down Fifth Avenue? He was a planet without an atmosphere.

Words. privation, dyspeptic workaday faces, Lolloping?, stained dark, Frankenstein steps, splats.

Character. Mr. Barbour. I love the fact that he didn't try to pretend he knew how to solve problems. There was a relatability in his character that I connected with.

[Michelle, Overrun By Pets]

Theo's primary secret of taking and concealing the Fabritius painting seems to be the pivotal plot point. I'm not quite far enough into the story to feel confident predicting how this will play out.

Theo's general reticence to speak frankly with people, particularly adults, seems realistic for a child of his age going through trauma of this nature. The ongoing struggle between Theo and counselors, teachers, and child services personnel is very believable to me.

There are more subtle secrets kept from the reader throughout the story. Details such as the exact nature of Mr. Barbour's mental illness, and Theo's relationship with his extended family seem purposfully vague. Although Theo mentions getting new glasses on several occasions, readers were kept in the dark for some time that Andy and Theo had the exact same pair of glasses. Normally as a reader I would be antsy to flush out story details. Since the narration is so strongly from a teenage boy's perspective, the gray nature of what is and is not provided was not bothersome to me in any way. The point of view is reasonable and again, completely believable.

Overall, the continued multi-layers of secrets coursing throughout the book add to the mystery, suspense and intrigue. I can't wait to see what is around the next turn and I don't want to put this book down for a moment.


I felt an immediate kindship with Hobie. Everything from his manner to the nature of the shop and his home were welcoming, unassuming and like a warm embrace. The description of Hobie's shop was dark but not dank, womb-like and mystical. "Even the chair he'd been working on-which had goat's legs in front, with cloven hooves-had seemed less like a piece of furniture than a creature under enchantment, like it might up-end itself and hop down from his work bench and trot away down the street."

Theo finds an immediate comfort in speaking to someone who also lost a loved one under the same circumstances he did. Hobie is understanding and speaks to Theo like an adult and not an adult trying to help a traumatized kid. Although Theo lied about previously knowing Pippa, Theo seemed completely honest and open with Hobie. I wasn't sure if Hobie knew Theo was lying about knowing Pippa or not. Theo being open and honest with an adult was a critical turning point in Part 1.


My favorite quotes included "...and she liked to make me laugh by calling herself an Okie even though she was as glossy and nervy and stylish as a racehorse."

"..the very word conference suggested a convocation of authorities, accusations and face-downs, a possible expulsion."

"There sat my tweed-cap nemesis Mr. Beeman, pompous as ever with his waistcoat and watch chain.."

"It was a little weird being in the Village on my own because it wasn't a place where you saw many kids on the street on a weekend morning; it felt adult, sophisticated, slightly alcoholic." Having just been here, I TOTALLY agree with this assessment.


My favorite words include: clangor, benediction, consanguinity, pugilists, cypher, brogues, fracas, mortise, tenon, sacrosanct.


Finding a favorite character was extremely difficult for me because all of the characters were very well written. Each had his/her own special something. Although I liked some characters more than others, I found most of them intriguing. Character descriptions, personal details, and voices were all flushed out and separated very well. I'll include some specific examples.

Hobie: "Again he laughed - a big man's laugh, rich and rough and at odds with his carefully cultivated voice."

Xandra: "Larry she said, you and your wife had a really nice place here . The way she said it made me feel bad for her without liking her any better."

Andy: "I trusted him, I valued his opinion, and yet his conversation sometimes made me feel as though I was talking to one of those computer programs that mimic human response."

Mrs. Barbour: "Mrs. Barbour was from a society family with an old Dutch name, so cool and blonde and monotone that sometimes she seemed partially drained of blood. She was a masterpiece of composure; nothing ever ruffled her or made her upset, and though she was not beautiful her calmness had the magnetic pull of beauty.."

I could go on and on with characters and quotes, but alas I will stop here for now. Hopefully I have illustrated why it was so difficult for me to pick a single stand-out character, I love them all for very different reasons.