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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I nodded.

“That’s great. But if we ask you something and you don’t know? It’s okay to say you don’t know.”

“We just want to throw a whole lot of questions out there and see if we can draw your memory out about anything,” Morris said. “Are you cool with that?”

“You need anything?” said Ray, eyeing me closely. “A drink of water, maybe? A soda?”

I shook my head—no sodas were allowed on school property—just as Mr. Beeman said: “Sorry, no sodas permitted on school property.”

Ray made a give me a break face that I wasn’t sure if Mr. Beeman saw or not. “Sorry, kid, I tried,” he said, turning back to me. “I’ll run out and get you a soda at the deli if you feel like it later on, how about it? Now.” He clapped his hands together. “How long do you think you and your mother were in the building prior to the first explosion?”

“About an hour, I guess.”

“You guess or you know?”

“I guess.”

“You think it was more than an hour? Less than an hour?”

“I don’t think it was more than an hour,” I said, after a long pause.

“Describe to us your recollection of the incident.”

“I didn’t see what happened,” I said. “Everything was fine and then there was a loud flash and a bang—”

“A loud flash?”

“That’s not what I meant. I meant the bang was loud.”

“You said a bang,” said the guy Morris, stepping forward. “Do you think you might be able to describe to us in a little more detail what the bang sounded like?”

“I don’t know. Just… loud,” I added, when they kept on looking at me like they expected something more.

In the silence that followed, I heard a stealthy clicking: Mrs. Barbour, with her head down, discreetly checking her BlackBerry for messages.

Morris cleared his throat. “What about a smell?”

“Excuse me?”

“Did you notice any particular smell in the moments prior?”

“I don’t think so.”

“Nothing at all? You sure?”

As the questioning wore on—the same stuff over and over, switched around a little to confuse me, with every now and then something new thrown in—I steeled myself and waited hopelessly for them to work around to the painting. I would simply have to admit it and face the consequences, no matter what the consequences were (probably fairly dire, since I was well on my way to becoming a Ward of the State). At a couple of points, I was on the verge of blurting it out, in my terror. But the more questions they asked (where was I when I’d hit my head? Who had I seen or spoken to on my way downstairs?) the more it dawned on me that they didn’t know a thing about what had happened to me—what room I’d been in when the bomb exploded, or even what exit I’d taken out of the building.

They had a floor plan; the rooms had numbers instead of names, Gallery 19A and Gallery 19B, numbers and letters in a mazelike arrangement all the way up to 27. “Were you here when the initial blast occurred?” Ray said, pointing. “Or here?”

“I don’t know.”

“Take your time.”

“I don’t know,” I repeated, a bit frantically. The diagram of the rooms had a confusing, computer-generated quality, like something from a video game or a reconstruction of Hitler’s bunker that I’d seen on the History Channel, that in truth didn’t make any sense or seem to represent the space as I remembered it.

He pointed to a different spot. “This square?” he said. “That’s a display plinth, with paintings on it. I know these rooms all look alike, but maybe you can remember where you were in relation to that?”

I stared hopelessly at the diagram and didn’t answer. (Part of the reason it looked so unfamiliar was that they were showing me the area where my mother’s body was found—rooms away from where I’d been when the bomb went off—although I didn’t realize that until later.)

“You didn’t see anybody on your way out,” said Morris encouragingly, repeating what I’d already told them.

I shook my head.

“Nothing you remember at all?”

“Well, I mean—bodies covered up. Equipment lying around.”

“Nobody coming in or out of the area of the explosion.”

“I didn’t see anybody,” I repeated doggedly. We had been over this.

“So you never saw firemen or rescue personnel.”

“No.”

“I suppose we can establish, then, that they’d been ordered out of the building by the time you came to. So we’re talking about a time lapse of forty minutes to an hour and a half after the initial explosion. Is that a safe assumption?”

I shrugged, limply.

“Is that a yes or a no?”

Staring at the floor. “I don’t know.”

“What don’t you know?”

“I don’t know,” I said again, and the silence that followed was so long and uncomfortable I thought I might break down crying.

“Do you recall hearing the second blast?”

“Pardon me for asking,” said Mr. Beeman, “but is this really necessary?”

Ray, my questioner, turned. “Excuse me?”

“I’m not sure I see the purpose of putting him through this.”

With careful neutrality, Morris said: “We’re investigating a crime scene. It’s our job to find out what happened in there.”

“Yes, but surely you must have other means of doing so for such routine matters. I would think they had all manner and variety of security cameras in there.”

“Sure they do,” said Ray, rather sharply. “Except cameras can’t see through dust and smoke. Or if they’re blown up to face the ceiling. Now,” he said, settling back in his chair with a sigh. “You mentioned smoke. Did you smell it or see it?”

I nodded.

“Which one? Saw or smelled?”

“Both.”

“What direction do you think it was coming from?”

I was about to say I didn’t know again, but Mr. Beeman had not finished making his point. “Forgive me, but I entirely fail to see the purpose in security cameras if they don’t operate in an emergency,” he said, to the room in general. “With technology today, and all that artwork—”

Ray turned his head as if to say something angry, but Morris, standing in the corner, raised his hand and spoke up.

“The boy’s an important witness. The surveillance system isn’t designed to withstand an event like this. Now, I’m sorry, but if you can’t stop it with the comments we’ll have to ask you to leave, sir.”

“I’m here as this child’s advocate. I’ve the right to ask questions.”

“Not unless they pertain directly to the child’s welfare.”

“Oddly enough, I was under the impression that they did.”

At this Ray, in the chair in front of me, turned around. “Sir? If you continue to obstruct the proceedings?” he said. “You will have to leave the room.”

“I have no intention of obstructing you,” said Mr. Beeman in the tense silence that followed. “Nothing could be further from my mind, I assure you. Go on, please continue,” he said, with an irritated flick of the hand. “Far be it from me to stop you.”

On the questioning dragged. What direction had the smoke come from? What color was the flash? Who went in and out of the area in the moments prior? Had I noticed anything unusual, anything at all, before or after? I looked at the pictures they showed me—innocent vacation faces, nobody I recognized. Passport photos of Asian tourists and senior citizens, moms and acned teenagers smiling against blue studio backgrounds—ordinary faces, unmemorable, yet all somehow smelling of tragedy. Then we went back to the diagram. Could I maybe just try, just one more time, to pinpoint my location on this map? Here, or here? What about here?

“I don’t remember.” I kept on saying it: partly because I really wasn’t sure, partly because I was frightened and anxious for the interview to come to a close, but also because there was an air of restlessness and distinct impatience in the room; the other adults seemed already to have agreed silently among themselves that I didn’t know anything, and should be left alone.

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