I read Donna Tartt’s impressive first novel, The Secret History, at an impressionable age and in a stage of my life I will politely refer to as Colonised Mind v. 1.0. Having grown up middle-class and Tamil in Malaysia—title of my forthcoming memoir, hahaha!—and fed Austen, Dickens, Christie (Agatha) and Blyton (Enid) throughout a very protected childhood, I was very susceptible to romantic Life of the Mind-type ideas and proclivities.
Besides, I had a tattered copy of Bullfinch’s Mythology that followed me everywhere. I—like about a zillion other young kids who came to learn about Greek mythology by way of Anglo-European classicists—loved Greek myth. Who doesn’t? Myths are great. Why would you not like stories? Stories are great.
So when I found a tattered copy of The Secret History in a used bookstore, an Ivy Books trade paperback with a lurid cover image comprising a mishmash of an imposing New England colonial building, a Doric column and a single stem rose, with various phrases like “Greek scholars, worldly, self-assured,” “a terrifying secret that bound them to one another”, “an incident in the woods in the dead of the night”, “an ancient rite that was brought to brutal life”, and “gruesome death” strewn across the back cover copy, it worked like a charm. I bought it, devoured it, and read it over and over again, before I even knew that Tartt was “a sensation” in that faraway place called the literary world.
This makes The Secret History sound almost flimsy, even silly, but it’s not. Despite its premise, Tartt is a writer who plays with excesses and extremes in the most delicate way. You don’t read Tartt for pared-down elegance, although there are moments when she does this, too. You read Tartt like you would watch Pretty Little Liars: for the unalloyed pleasure of surrendering to a familiar story that is, at turns, also new and menacing.
Tartt’s third and most recent novel, The Goldfinch, was hugely anticipated among industry types and fans because she’s only written three so far; ten years separated the publication of her second novel, The Little Friend, from her debut, and 11 years separates The Goldfinch from her second. I still pull The Secret History from the shelves every so often, skipping the parts that bore me, and going over the passages where the Greek scholars who so fascinated the novel’s protagonist, Richard Papen, are at their most knowing and obnoxious.
Now older, wiser and bitter, I’m tempted to throw copies of Martin Bernal’s Black Athena at their heads, then set off on a long lecture about the appropriation of Greek knowledge and thought by Eurocentric thinkers and writers. Still, the story remains tantalising. And, as reductive as this might probably sound, this is what Tartt does very well. She tells a good story.
The Goldfinch can be said to be an anti-bildungsroman, in that it traces the life of one Theo Decker from about 13years of age, where he survives a bombing at the Metropolitan Museum in New York that kills his mother, until his late 20s, where he reflects on this life while telling his story. It’s an anti-bildungsroman because Theo, much like Richard in The Secret History and Harriet Dufresnes in The Little Friend, has his head firmly turned back to the past, to that point in time where a singular event changed his life.
This isn’t a straightforward novel of growth and progression as it is a novel of regret, and for much of the book, Theo exists in a state of anguished perpetual adolescence. He’s always that 13-year-old boy on that fateful day at the Met.
The premise of the novel hinges on Theo’s possession of Carel Fabritius’s “The Goldfinch” following the museum bombing. When Theo and his mother first arrive at the Met, Theo is drawn to a young girl with red hair and her elderly male companion, and after the blast, Theo finds himself in the same space with the dying old man, and in a distinctly hazy, dream-like encounter, this man gives Theo a ring and encourages him to leave the museum with the painting.
Later, after learning about his mother’s death from a pair of social workers—his father having long since disappeared from their lives—and after having narrowly escaped a life in care by moving in with his friend Andy Barbour’s family, the ring will lead Theo to the old man’s business and home, an antique shop in the West End, and into the orbit of the lives of the man’s business partner and Theo’s future mentor and guardian and father-figure of sorts, Hobie, and the man’s young niece, Pippa, the redhead of the museum encounter. The painting stays with Theo until, of course, it doesn’t, which is a sort of plot progression the reader would have seen coming from the start.
Throughout the book we meet a cast of characters that includes the family members of the Barbour household, as well as Hobie, Pippa, and Theo’s estranged alcoholic father and his new girlfriend, Xandra. Theo moves from the Barbour’s upper-class posh lifestyle in New York to Las Vegas with his father and Xandra and makes a life-changing new friend named Boris, and then moves back to New York again, with a fevered, nightmarish pit-stop in Amsterdam before the novel’s end.
Boris, as it turns out, is the novel’s most entertaining character probably because he’s Polish-Ukrainian and is made out to have both socialist and criminal tendencies, a perfect foil to the generally law-abiding and liberal Theo. Tartt’s liberal American imagination allows Boris to be the wild and fun and yet corrupting influence in Theo’s life—yes, he’s a good friend, in his own way, but in some ways Boris just an amalgam of how Americans view foreigners who have lived in countries with different political systems. Those insane Eastern Europeans and their dangerous political ideas and lax ways with the law! Crazy Boris even tried out being Muslim for awhile, which teenage Theo finds positively incomprehensible.
While The Goldfinch is set in a politically-charged landscape—the bombing at the museum is vaguely attributed to “terrorism”—Tartt is a writer of bourgeois psychological novels, and the large cast of characters in this book only serve to contextualise Theo’s interior life. This isn’t to say they aren’t well realised, even larger than life, as in Boris’ case—but this isn’t a novel that’s grappling with social and political issues surrounding the bombing in 21st-century New York. It’s about a boy and his painting, and how it both circumscribes and expands his relation to other people, and serves as a talisman that links him to his mother and to a gentrified world of art and beauty and stability—Hobie’s world—that he wants to be a part of, even while he realises he stands outside of it.
Tartt’s fascination with rich WASPs continues in this book, as seen in Theo’s perpetual amazement of the Barbours and their lifestyle, but equally unappealing for me is the casual othering of people of colour. Boris is larger than life because he’s a central character, but otherwise while criminal white Germans might each have a name, criminal Indonesians only appear inscrutable and are compared to anacondas, while criminal Chinese are inscrutable and wily and are in possession of a name that all the white people can’t be bothered to remember, or have “difficulty” remembering, because it sounds so strange. (Theo can’t even tell at one point, if this person is a man or a woman or a boy or a girl, and somehow this problem seems related to this person’s Asianness.)
When Theo arrives in Amsterdam and looks around at the airport and sees “dead-eyed ethnic families”, it’s hard not to flinch, though I was also curious about where one could obtain this all-purpose “ethnic family”—at the gift shop, presumably? Does the ethnic family come in all sizes and colours? Theo even exoticises his own mother’s appearance because she was part-Irish, part Cherokee, telling us that “in the slant of her cheekbones there was such an eccentric mixture of the tribal and the Celtic Twilight”—the what and the what?, was my question—and that sometimes the exotic character of her facial features were too stark when her hair was pulled back, making her look “like some nobleman in The Tale of Genji”. Okay.
There’s a Dickensian aura running through The Goldfinch, most notably Great Expectations, and there are certain similarities between Pip and Theo as they navigate their orphan hood (Theo’s father is far from a father) and find parental figures in the unlikeliest of places, not to mention their inability to love anyone but the one woman they can’t have, though Theo’s spiritual twin appears to be The Secret History’s Richard. In all her novels, Tartt is particularly adept at conveying the banal hazards of estrangement and evoking sensations relating to place and space. Both Richard and Theo, for example, wish they were anyone but themselves, and are particularly gifted in losing themselves in copious quantities of alcohol and pills. “A self one does not want. A heart one cannot help,” as Theo puts it. And while The Secret History will always be reminiscent of frost and snow and ice and the chill of the unknown, this book is notable for the hot, barren, drug-infused Las Vegas suburban desertscape and its air-conditioned ennui.
In this novel, as with her previous two, Tartt seems to be circling around the same concerns about a person’s fatal flaw. “Does such a thing as ‘the fatal flaw,’ that showy dark crack running down the middle of a life, exist outside literature? I used to think it didn’t. Now I think it does. And I think that mine is this: a morbid longing for the picturesque at all costs”, Richard begins in The Secret History—and the same is true for Theo. His longing for beauty, and his inability to let go or exist separately of “The Goldfinch”, once he’s set eyes on it, is his constant downfall. For one thing, it connects him to his mother, who loved Fabritius’s work before Theo even began to pay attention. But more alarming, for Theo, is how hard he fell for the painting, and the lengths he with which he destroyed little aspects of his life in order to keep it:
What if one happens to be possessed of a heart that can’t be trusted—? What if the heart, for its own unfathomable reasons, leads one wilfully and in a cloud of unspeakable radiance away from health, domesticity, civic responsibility and strong social connections and all the blandly-held common virtues and instead straight towards a beautiful flare of ruin, self-immolation, disaster?
This is a thread that runs through all of Tartt’s novels, with protagonists floating in a sea of banal everyday life routines, desperately wishing for wings to fly out and touch the sun. Even in The Little Friend, Harriet was convinced of her difference—her fatal flaw being the morbid longing to find out the truth, at all costs. (And the price is steep, as she learns by the end.)
While the ending for The Secret History was rather exquisite, evoking the tragic in a way that was both sad and tender, The Goldfinch ends with what feels like a sermon from Theo, desperately trying to attribute meaning to everything that had happened thus far while still assuring us that the knows that “life is catastrophe”. It feels tacked-on and forced, and one wonders if Tartt felt compelled to drag the novel on for as long as close to 800 pages in order to give us A Lesson to make up for the dissatisfaction many felt with The Little Friend, which ended on a totally bizarre note, with no resolution of any sort for anyone—and which, I thought, was perfectly in keeping with the slow drip of menace that increased with every page.
While talking about how a novel is about one thing is a sure way to kill the experience of reading, the ending of The Goldfinch seems to want to reduce it to a meaning: about the magic that exists in that unfathomable place between illusion and reality, that lives on between people and things—in particular, things that are passed on from one hand to another. After some 700 pages of one catastrophic event after another, after repeated attempts at self-erasure, these words don’t seem true delivered in Theo’s voice, and the conclusion seems too tidy, too hopeful, too trite.
Tartt’s novels aren’t novels of ideas—there’s a reason why I compared reading a Tartt novel to watching a TV show, and it’s because it’s propelled by a forward-moving momentum; it’s about action and places and people. These are novels concerned with the psychology of its characters. The Goldfinch seems ripe for meditations on art commodities, and ideas and politics that are transmitted through works of art, as well as deep explorations about what cultural anthropologists like Arjun Appadurai have called the social life of things, but any asides or discussions on books or paintings and the exchange of and desire for commodities are tangential to the main story of Theo’s life. It’s only at the very end that Theo attempts to weave the history of this masterwork he’s kept, hoarded, and lost into the trajectory of his own life, but by then it’s all delivered in one big rush of a moral lesson, and the effect is one of vague disorientation at this newly-wise Theo.
The Secret History was a compelling modern tragedy because its effects were rooted in mimesis, in replicating the elements of the Greek plays in the catastrophes of Richard’s, and his friends’, modern American lives. The Goldfinch merely uses the central artwork as a prop for the plot, for the service of the protagonist’s inner life, even while Theo tries to convince us otherwise through occasional meandering and repetitive musings on art that are, unfortunately, superficial and uninteresting. Tartt’s novel is eminently readable and entertaining, even moving at times, but while I kept turning the pages I never wanted to linger over it like how Theo does when he looks at the painting and meets the eyes of Fabritius’s all-seeing goldfinch.
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