Donna Tartt - The Goldfinch

FOR MOTHER,

FOR CLAUDE

I.

The absurd does not liberate; it binds.

—ALBERT CAMUS

Chapter 1.

Boy with a Skull

i.

WHILE I WAS STILL in Amsterdam, I dreamed about my mother for the first time in years. I’d been shut up in my hotel for more than a week, afraid to telephone anybody or go out; and my heart scrambled and floundered at even the most innocent noises: elevator bell, rattle of the minibar cart, even church clocks tolling the hour, de Westertoren, Krijtberg, a dark edge to the clangor, an inwrought fairy-tale sense of doom. By day I sat on the foot of the bed straining to puzzle out the Dutch-language news on television (which was hopeless, since I knew not a word of Dutch) and when I gave up, I sat by the window staring out at the canal with my camel’s-hair coat thrown over my clothes—for I’d left New York in a hurry and the things I’d brought weren’t warm enough, even indoors.

Outside, all was activity and cheer. It was Christmas, lights twinkling on the canal bridges at night; red-cheeked dames en heren, scarves flying in the icy wind, clattered down the cobblestones with Christmas trees lashed to the backs of their bicycles. In the afternoons, an amateur band played Christmas carols that hung tinny and fragile in the winter air.

Chaotic room-service trays; too many cigarettes; lukewarm vodka from duty free. During those restless, shut-up days, I got to know every inch of the room as a prisoner comes to know his cell. It was my first time in Amsterdam; I’d seen almost nothing of the city and yet the room itself, in its bleak, drafty, sunscrubbed beauty, gave a keen sense of Northern Europe, a model of the Netherlands in miniature: whitewash and Protestant probity, co-mingled with deep-dyed luxury brought in merchant ships from the East. I spent an unreasonable amount of time scrutinizing a tiny pair of gilt-framed oils hanging over the bureau, one of peasants skating on an ice-pond by a church, the other a sailboat flouncing on a choppy winter sea: decorative copies, nothing special, though I studied them as if they held, encrypted, some key to the secret heart of the old Flemish masters. Outside, sleet tapped at the windowpanes and drizzled over the canal; and though the brocades were rich and the carpet was soft, still the winter light carried a chilly tone of 1943, privation and austerities, weak tea without sugar and hungry to bed.

Early every morning while it was still black out, before the extra clerks came on duty and the lobby started filling up, I walked downstairs for the newspapers. The hotel staff moved with hushed voices and quiet footsteps, eyes gliding across me coolly as if they didn’t quite see me, the American man in 27 who never came down during the day; and I tried to reassure myself that the night manager (dark suit, crew cut, horn-rimmed glasses) would probably go to some lengths to avert trouble or avoid a fuss.

The Herald Tribune had no news of my predicament but the story was all over the Dutch papers, dense blocks of foreign print which hung, tantalizingly, just beyond the reach of my comprehension. Onopgeloste moord. Onbekende. I went upstairs and got back into bed (fully clad, because the room was so cold) and spread the papers out on the coverlet: photographs of police cars, crime scene tape, even the captions were impossible to decipher, and although they didn’t appear to have my name, there was no way to know if they had a description of me or if they were withholding information from the public.

The room. The radiator. Een Amerikaan met een strafblad. Olive green water of the canal.

Because I was cold and ill, and much of the time at a loss what to do (I’d neglected to bring a book, as well as warm clothes), I stayed in bed most of the day. Night seemed to fall in the middle of the afternoon. Often—amidst the crackle of strewn newspapers—I drifted in and out of sleep, and my dreams for the most part were muddied with the same indeterminate anxiety that bled through into my waking hours: court cases, luggage burst open on the tarmac with my clothes scattered everywhere and endless airport corridors where I ran for planes I knew I’d never make.

Thanks to my fever I had a lot of weird and extremely vivid dreams, sweats where I thrashed around hardly knowing if it was day or night, but on the last and worst of these nights I dreamed about my mother: a quick, mysterious dream that felt more like a visitation. I was in Hobie’s shop—or, more accurately, some haunted dream space staged like a sketchy version of the shop—when she came up suddenly behind me so I saw her reflection in a mirror. At the sight of her I was paralyzed with happiness; it was her, down to the most minute detail, the very pattern of her freckles, she was smiling at me, more beautiful and yet not older, black hair and funny upward quirk of her mouth, not a dream but a presence that filled the whole room: a force all her own, a living otherness. And as much as I wanted to, I knew I couldn’t turn around, that to look at her directly was to violate the laws of her world and mine; she had come to me the only way she could, and our eyes met in the glass for a long still moment; but just as she seemed about to speak—with what seemed a combination of amusement, affection, exasperation—a vapor rolled between us and I woke up.

ii.

THINGS WOULD HAVE TURNED out better if she had lived. As it was, she died when I was a kid; and though everything that’s happened to me since then is thoroughly my own fault, still when I lost her I lost sight of any landmark that might have led me someplace happier, to some more populated or congenial life.

Her death the dividing mark: Before and After. And though it’s a bleak thing to admit all these years later, still I’ve never met anyone who made me feel loved the way she did. Everything came alive in her company; she cast a charmed theatrical light about her so that to see anything through her eyes was to see it in brighter colors than ordinary—I remember a few weeks before she died, eating a late supper with her in an Italian restaurant down in the Village, and how she grasped my sleeve at the sudden, almost painful loveliness of a birthday cake with lit candles being carried in procession from the kitchen, faint circle of light wavering in across the dark ceiling and then the cake set down to blaze amidst the family, beatifying an old lady’s face, smiles all round, waiters stepping away with their hands behind their backs—just an ordinary birthday dinner you might see anywhere in an inexpensive downtown restaurant, and I’m sure I wouldn’t even remember it had she not died so soon after, but I thought about it again and again after her death and indeed I’ll probably think about it all my life: that candlelit circle, a tableau vivant of the daily, commonplace happiness that was lost when I lost her.

She was beautiful, too. That’s almost secondary; but still, she was. When she came to New York fresh from Kansas, she worked part-time as a model though she was too uneasy in front of the camera to be very good at it; whatever she had, it didn’t translate to film.