At almost 800 pages long, this novel is incredibly dense - and a feast for the senses. Tartt wastes no opportunity to describe, vividly, the sights, sounds, smells, and feelings of the occasion. The descriptions paint a picture just as captivating as the 17th century Dutch paintings featured in the story. It’s this richly packed detail that makes The Goldfinch so enjoyable and endears it to its readers. Theo’s story is by no means boring, but his coming-of-age tale is made all the more meaningful by Tartt’s prose, which helps plant the reader in Theo’s shoes.
Tartt uses the great breadth of this novel to craft subtlety into her characters and relationships. She masters the art of showing, not telling, the minute ways that the death of his mother has traumatized Theo, made him feel unwelcomed and unloved by those who try to help him. Through Theo’s unreliable first-person narration, the secondary characters are complex and enigmatic, and the reader can make their own inferences about their true personalities. Of all the characters, Theo’s careless and reckless friend Boris shines the brightest, and serves as his foil in many instances.
In The Goldfinch, Tartt tells a meaningful and nuanced story, but it falls short of excellence with a muddled ending. In truth, the novel could have ended with 150 pages trimmed off and come out even better. Instead, Tartt wraps up the book with a long, long, long monologue that breaks the fourth wall and tries to tell the readers what they’re supposed to get out of the novel. It comes across as pretentious and fake; it ends on a bad note, which is a shame for a novel which captivated for 600 pages.
Despite its flaws, The Goldfinch is a meaningful journey into art and the human connection; trauma and depression and abuse; finding oneself and growing up, despite all the challenges.