Donna Tartt - The Goldfinch

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The Goldfinch: краткое содержание, описание и аннотация

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A young boy in New York City, Theo Decker, miraculously survives an accident that takes the life of his mother. Alone and determined to avoid being taken in by the city as an orphan, Theo scrambles between nights in friends’ apartments and on the city streets. He becomes entranced by the one thing that reminds him of his mother, a small, mysteriously captivating painting that soon draws Theo into the art underworld.

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It was an interesting story he was telling, if I’d had ears to listen to it—someone had fingered Cherry for some unspecified but apparently very serious crime which he had not committed, nothing to do with, perfectly innocent, the guy had rolled for reduced prison time and unless Cherry, in turn, wanted to roll on his higher-ups (“unwise to do, if I wish to keep breathing”), he was looking at ten sticks and Boris, Boris had saved the day because Boris had tracked down the slimebag, in Antwerp and out on bail, and the story of how he had done this was very involved and enthusiastic and Cherry was getting choked up and sniffing a bit and there was more and it seemed to involve arson and bloodshed and something to do with a power saw but by that point I wasn’t hearing a word because I’d gotten the string untied and streetlights and watery rain reflections were rolling over the surface of my painting, my goldfinch, which—I knew incontrovertibly, without a doubt, before even turning to look at the verso—was real.

“See?” said Boris, interrupting Vitya right in the heat of his story. “Looks good, no, your zolotaia ptitsa? I told you we took care of it, didn’t I?”

Running my fingertip incredulously around the edges of the board, like Doubting Thomas across the palm of Christ. As any furniture dealer knew, or for that matter St. Thomas: it was harder to deceive the sense of touch than sight, and even after so many years my hands remembered the painting so well that my fingers went to the nail marks immediately, at the bottom of the panel, the tiny holes where (once upon a time, or so it was said) the painting was nailed up as a tavern sign, part of a painted cabinet, no one knew.

“He still alive back there?” Victor Cherry.

“Think so.” Boris dug an elbow in my ribs. “Say something.”

But I couldn’t. It was real; I knew it, even in the dark. Raised yellow streak of paint on the wing and feathers scratched in with the butt of the brush. One chip on the upper left edge that hadn’t been there before, tiny mar less than two millimeters, but otherwise: perfect. I was different, but it wasn’t. And as the light flickered over it in bands, I had the queasy sense of my own life, in comparison, as a patternless and transient burst of energy, a fizz of biological static just as random as the street lamps flashing past.

“Ah, beautiful,” said Gyuri amiably, leaning in to look at my right side. “So pure! Like a daisy. You know what I am trying to express?” he said, nudging me, when I did not answer. “Plain flower, alone in a field? It’s just—” he gestured, here it is! amazing! “Do you know what I am saying?” he asked, nudging me again, only I was still too dazed to reply.

Boris in the meantime was murmuring half in English and half Russian to Vitya about the ptitsa as well as something else I couldn’t quite catch, something about mother and baby, lovely love. “Still wishing you had phoned the art cops, eh?” he said, slinging his arm around my shoulder with his head close to mine, exactly as when we were boys.

“We can still phone them,” said Gyuri, with a shout of laughter, punching me on the other arm.

“That’s right, Potter! Shall we? No? Maybe not such a good idea any more, eh?” he said across me, to Gyuri, with a raised eyebrow.

xi.

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WHEN WE TURNED IN TO the garage and got out of the car everyone was still high and laughing and recounting bits and pieces of the ambush in multiple languages—everyone except me, blank and echoing with shock, fast cuts and sudden movements still reverberating from the dark at me and too stunned to speak a word.

“Look at him,” said Boris, breaking short from what he was saying and knocking me in the arm. “He looks like he just had the best blow job of his life.”

They were all laughing at me, even Shirley Temple, the whole world was laughter bouncing fractal and metallic off the tiled walls, delirium and phantasmagorica, a sense of the world growing and swelling like some fabulous blown balloon floating and billowing away to the stars, and I was laughing too and I wasn’t even sure what I was laughing at since I was still so shaken I was trembling all over.

Boris lit a cigarette. His face was greenish in the subterranean light. “Wrap that thing up,” he said affably, nodding at the painting, “and then we will stick it in the hotel safe and go and get you a real blow job.”

Gyuri frowned. “I thought we were going to eat first?”

“You are right. I am starving. Dinner first, then blow job.”

“Blake’s?” said Cherry, opening the passenger door of the Land Rover. “An hour, say?”

“Sounds good.”

“Hate to go like this,” Cherry said, plucking at the collar of his shirt, which was transparent and stuck to him with sweat. “Then again I could use a cognac. Some of the hundred-euro stuff. I could install about a quart right now. Shirley—Gyuri—” he said something in Ukrainian.

“He is saying,” said Boris, in the burst of laughter that followed, “he is telling Shirley and Gyuri that they are buying the dinner tonight. With—” Gyuri triumphantly hoisting the bag.

Then—a pause. Gyuri looked troubled. He said something to Shirley Temple, and Shirley—laughing at him, deep peachy dimples—waved him off, waved off the bag that Gyuri tried to offer, and rolled his eyes when Gyuri offered it again.

Ne syeiychas, ” said Victor Cherry irritably. “Not now. Divide it later.”

“Please,” said Gyuri, offering the bag one more time.

“Oh, come on. Divide it later or we’ll be here all night.”

Ya khochu chto-by Shirli prinyala eto, said Gyuri, a sentence so plain and so earnestly enunciated that even I, with my lousy Russki, understood it. I want that Shirley takes it.

“No way!” said Shirley, in English, and—unable to resist—darted a glance at me to make sure I’d heard him say it, like a kid proud of knowing the answer in school.

“Come on. ” Boris—hands on hips—looked aside in exasperation. “Does it matter who carries in their car? One of you is going to make off with it? No. We are all friends here. What will you do?” he said, when neither of them made a move. “Leave it on the floor for Dima to find? One of you decide please.”

There was a long silence. Shirley, standing with arms folded, shook his head firmly at Gyuri’s repeated insistence and then, with a worried look, asked Boris a question.

“Yes, yes, fine with me,” said Boris impatiently. “Go ahead,” he said to Gyuri. “You three go together.”

“Are you sure?”

“I am positive. You have worked enough for tonight.”

“You’ll manage?”

“No,” said Boris, “we will two of us walk! of course, of course,” he said, shushing Gyuri’s objection, “we can manage, go on,” and we were all laughing as Vitya and Shirley and Gyuri too waved us goodbye ( Davaye! ) and hopped in the Range Rover and drove away, up the ramp and out to the Overtoom again.

xii.

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“AH, WHAT A NIGHT,” said Boris, scratching his stomach. “Starving! Let’s get out of here. Although—” he glanced back, knotted brow, at the Range Rover driving off—“well, no matter. We will be fine. Short hop. Blake’s is easy walk from your hotel. And you,” he said to me, nodding—“careless! You should tie that thing up again! Don’t just carry it wrapped with no string.”

“Right,” I said, “right,” and I circled to the front of the car so I could rest it on the hood while I fumbled for the baker’s twine in my pocket.

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