Donna Tartt - The Goldfinch

“Head not heart, then.”

“If that’s how you want to put it, yes,” she said, looking at me with such plain pity and affection that—quite unexpectedly—I felt my anger drop out from under me: at her cool intelligence, all her own, clear as a silver bell. “Now—” stretching up on tiptoe, to kiss me on the cheek—“let’s both be good, and truthful, and kind to each other, and let’s be happy together and have fun always.”

xxii.

SO I SPENT THE night—we ordered in, later, and then went back to bed. But though on some level it was all easy enough pretending everything was the same (because, in some way, hadn’t we both been pretending all along?) on another I felt nearly suffocated by the weight of everything unknown, and unsaid, pressing down between us, and later when she lay curled against me asleep I lay awake and stared out the window feeling completely alone. The silences of the evening (my fault, not Kitsey’s—even in extremis Kitsey was never at a loss for words) and the seemingly unbridgeable distance between us had reminded me very strongly of being sixteen and never having the faintest idea what to say or do around Julie, who though she definitely couldn’t be called a girlfriend was the first woman I’d thought of as such. We’d met outside the liquor store on Hudson when I was standing outside money in hand wanting someone to go in and buy me a bottle of something and there she came billowing around the corner, in batlike, futuristic garb incongruous with her clumping walk and farm-girl looks, her plain-but-pleasing face of a prairie wife of the 1900s. “Hey kid—” hoisting her own wine bottle out of the bag—“here’s your change. No really. Don’t mention it. Are you going to stand out here in the cold and drink that?” She was twenty-seven, nearly twelve years older than me, with a boyfriend just finishing business school in California—and there was never any question that when the boyfriend came back I wasn’t to come by or contact her ever again. We both knew. She hadn’t had to say it. Galloping up the five flights to her studio, on the rare (to me) afternoons I was permitted to come see her, I was always bursting with words and feelings too big to contain but all the things I’d planned to say to her always vanished the instant she opened the door and instead of being able to engage in conversation for even two minutes like a normal person, I would instead hover speechless and desperate three steps behind her, hands plunged in pockets, hating myself, while she walked barefoot around the studio looking hip, talking effortlessly, apologizing for the dirty clothes on the floor and for forgetting to pick up a six-pack of beer—did I want her to run downstairs?—until at some point I would almost literally hurl myself at her mid-sentence and knock her over on the day bed, so violently sometimes my glasses flew off. It had all been so wonderful I’d thought I would die but lying awake afterward I’d been sick with emptiness, her white arm on the coverlet, streetlights coming on, dreading the eight o’clock hour which meant she would have to get up and dress for her job, at a bar in Williamsburg where I wasn’t old enough to stop in and visit her. And I hadn’t even loved Julie. I’d admired her, and obsessed over her, and envied her confidence, and even been a little afraid of her; but I hadn’t really loved her, no more than she’d loved me. I wasn’t so sure I loved Kitsey either (at least not the way I’d once wished I loved her) but still it was surprising just how bad I felt, considering I’d been through the routine before.

xxiii.

EVERYTHING WITH KITSEY HAD pushed Boris’s visit temporarily from my mind but—once I went to sleep—it all came back sideways in dreams. Twice I woke and sat bolt-upright: once, from a door swinging open nightmarishly into the storage locker, while kerchiefed women fought over a pile of used clothes outside; then—drifting back asleep, into a different staging of the same dream—storage unit as flimsy curtained space open to the sky, billowing walls of fabric not quite long enough to touch the grass. Beyond was a prospect of green fields and girls in long white dresses: an image fraught (mysteriously) with such death-charged and ritualistic horror that I woke gasping.

I checked my phone: 4:00 a.m. After a miserable half hour I sat up bare-chested in bed in the dark and—feeling like a crook in a French movie—lit a cigarette and stared out at Lexington Avenue which was practically empty at that hour: cabs just coming on duty, just going off, who knew which. But the dream, which had seemed prophetic, refused to dissipate and hung like a poisonous vapor, my heart still pounding from the airy danger of it, its sense of openness and hazard.

Deserves to be shot. I’d worried enough about the painting when I believed it to be safely maintained year round (as I’d been assured, by the storage brochure, in brisk professional tones) at a conservatorially acceptable 70 degrees Fahrenheit and 50 percent humidity. You couldn’t keep something like that just anywhere. It couldn’t take cold or heat or moisture or direct sun. It required a calibrated environment, like the orchids in the flower shop. To imagine it shoved behind a pizza oven was enough to make my idolater’s heart pound with a different, but similar, version of the terror I’d felt when I thought the driver was going to chuck poor Popper off the bus: in the rain, in the middle of nowhere, out by the side of the road.

After all: just how long had Boris had the picture? Boris? Even Horst, avowed art-lover, hadn’t with that apartment of his struck me as overly particular about conservatorial issues. Disastrous possibilities abounded: Rembrandt’s Storm on the Sea of Galilee, the only seascape he’d ever painted, according to rumor all but ruined from being stored improperly. Vermeer’s masterpiece The Love Letter, cut off its stretchers by a hotel waiter, flaking and creased from being sandwiched under a mattress. Picasso’s Poverty and Gauguin’s Tahitian Landscape, water-damaged after being hidden by some numbskull in a public toilet. In my obsessive reading the story that haunted me most was Caravaggio’s Nativity with St. Francis and St. Lawrence, stolen from the oratory of San Lorenzo and slashed from the frame so carelessly that the collector who’d commissioned the theft had burst out crying when he saw it and refused to take it.

Kitsey’s phone, I’d noticed, was missing from its usual place: the charger dock on the windowsill where she always grabbed for it first thing in the morning. Sometimes I woke in the middle of the night to see the backlight glowing blue in the dark on her side of the bed, under the covers, from her secret nest of sheets. ‘Oh, just checking the time,’ she said, if I tumbled over drowsily to ask what she was doing. I imagined it switched off and buried deep in the alligator bag with Kitsey’s usual mess of lip gloss and business cards and perfume samples and cash floating loose, crumpled twenties falling out every time she reached for her hairbrush. There, in that fragrant jumble, Cable would be calling repeatedly in the night, leaving multiple texts and voice mails for her to find when she woke in the morning.

What did they talk about? What did they say to each other? Oddly enough: it was easy to imagine their interaction. Bright chatter, a sense of sly connivance. Cable calling her silly names in bed and tickling her until she shrieked.

Grinding out my cigarette. No form, no sense, no meaning. Kitsey disliked it when I smoked in her bedroom but when she found the cigarette butt smashed out in the Limoges box on her dresser I doubted she was going to have anything to say about it. To understand the world at all, sometimes you could only focus on a tiny bit of it, look very hard at what was close to hand and make it stand in for the whole; but ever since the painting had vanished from under me I’d felt drowned and extinguished by vastness—not just the predictable vastness of time, and space, but the impassable distances between people even when they were within arm’s reach of each other, and with a swell of vertigo I thought of all the places I’d been and all the places I hadn’t, a world lost and vast and unknowable, dingy maze of cities and alleyways, far-drifting ash and hostile immensities, connections missed, things lost and never found, and my painting swept away on that powerful current and drifting out there somewhere: a tiny fragment of spirit, faint spark bobbing on a dark sea.