The Goldfinch (96 page)

“Yes, and that is why we would like so much to get it back,” grumbled Boris from the shadows.

“Completely extraordinary,” continued Horst serenely. “A still life like this one—” he indicated the Claesz, with a slow wave (black-rimmed fingernails, scarred venous network on the back of his hand)—“well, so insistently a trompe l’oeil. Great technical skill, but overly refined. Obsessive exactitude. There’s a deathlike quality. A very good reason they are called natures mortes, yes? But the Fabritius…”—loose-kneed back-step—“I know the theory of
The Goldfinch,
I’m well familiar with it, people call it trompe l’oeil and indeed it can strike the eye that way from afar. But I don’t care what the art historians say. True: there are passages
worked like a trompe l’oeil… the wall and the perch, gleam of light on brass, and then… the feathered breast, most creaturely. Fluff and down. Soft, soft. Claesz would carry that finish and exactitude down to the death—a painter like van Hoogstraten would carry it even farther, to the last nail of the coffin. But Fabritius… he’s making a pun on the genre… a masterly riposte to the whole idea of trompe l’oeil… because in other passages of the work—the head? the wing?—not creaturely or literal in the slightest, he takes the image apart very deliberately to show us how he painted it. Daubs and patches, very shaped and hand-worked, the neckline especially, a solid piece of paint, very abstract. Which is what makes him a genius less of his time than our own. There’s a doubleness. You see the mark, you see the paint for the paint, and also the living bird.”

“Yes, well,” growled Boris, in the dark beyond the spotlight, snapping his cigarette lighter shut, “if no paint, would be nothing to see.”

“Precisely.” Horst turned, his face cut by shadow. “It’s a joke, the Fabritius. It has a joke at its heart. And that’s what all the very greatest masters do. Rembrandt. Velázquez. Late Titian. They make jokes. They amuse themselves. They build up the illusion, the trick—but, step closer? it falls apart into brushstrokes. Abstract, unearthly. A different and much deeper sort of beauty altogether. The thing and yet not the thing. I should say that that one tiny painting puts Fabritius in the rank of the greatest painters who ever lived. And with
The Goldfinch
? He performs his miracle in such a bijou space. Although I admit, I was surprised—” turning to look at me—“when I held it in my hands the first time? The weight of it?”

“Yes—” I couldn’t help feeling gratified, obscurely, that he’d noted this detail, oddly important to me, with its own network of childhood dreams and associations, an emotional chord—“the board is thicker than you’d think. There’s a heft to it.”

“Heft. Quite. The very word. And the background—much less yellow than when I saw it as a boy. The painting underwent a cleaning—early nineties I believe. Post-conservation, there’s more light.”

“Hard to say. I’ve got nothing to compare it to.”

“Well,” said Horst. The smoke from Boris’s cigarette, threading in from the dark where he sat, gave the floodlit circle where we stood the midnight feel of a cabaret stage. “I may be wrong. I was a boy of twelve or so when I saw it for the first time.”

“Yes, I was about that age when I first saw it too.”

“Well,” said Horst, with resignation, scratching an eyebrow—dime-sized bruises on the backs of his hands—“that was the only time my father ever took me with him on a business trip, that time at The Hague. Ice cold boardrooms. Not a leaf stirring. On our afternoon I wanted to go to Drievliet, the fun park, but he took me to the Mauritshuis instead. And—great museum, many great paintings, but the only painting I remember seeing is your finch. A painting that appeals to a child, yes? Der Distelfink. That is how I knew it first, by its German name.”

“Yah, yah, yah,” said Boris from the darkness, in a bored voice. “This is like the education channel on the television.”

“Do you deal any modern art at all?” I said, in the silence that followed.

“Well—” Horst fixed me with his drained, wintry eye;
deal
wasn’t quite the correct verb, he seemed amused at my choice of words—“sometimes. Had a Kurt Schwitters not long ago—Stanton Macdonald-Wright—do you know him? Lovely painter. It depends a lot what comes my way. Quite honestly—do you ever deal in paintings at all?”

“Very seldom. The art dealers get there before I do.”

“That is unfortunate. Portable is what matters in my business. There are a lot of mid-level pieces I could sell on the clean if I had paper that looked good.”

Spit of garlic; pans clashing in the kitchen; faint Moroccan-souk drift of urine and incense. On and on flatlining, the Sufi drone, wafting and spiraling around us in the dark, ceaseless chants to the Divine.

“Or this Lépine. Quite a good forgery. There’s this fellow—Canadian, quite amusing, you’d like him—does them to order. Pollocks, Modiglianis—happy to introduce you, if you’d like. Not much money in them for me, although there’s a fortune to be made if one of them turned up in just the right estate.” Then, smoothly, in the silence that followed: “Of older works I see a lot of Italian, but my preferences—they incline to the North as you can see. Now—this Berchem is a very fine example for what it is but of course these Italianate landscapes with the broken columns and the simple milkmaids don’t so much suit the modern taste, do they? I much prefer the van Goyen there. Sadly not for sale.”

“Van Goyen? I would have sworn that was a Corot.”

“From here, yes, you might.” He was pleased at the comparison. “Very similar painters—Vincent himself remarked it—you know that letter?
‘The Corot of the Dutch’? Same tenderness of mist, that openness in fog, do you know what I mean?”

“Where—” I’d been about to ask the typical dealer’s question,
where did you get it,
before catching myself.

“Marvelous painter. Very prolific. And this is a particularly beautiful example,” he said, with all a collector’s pride. “Many amusing details up close—tiny hunter, barking dog. Also—quite typical—signed on the stern of the boat. Quite charming. If you don’t mind—” indicating, with a nod, the bodies behind the tapestry. “Go over. You won’t disturb them.”

“No, but—”

“No—” holding up a hand—“I understand perfectly. Shall I bring it to you?”

“Yes, I’d love to see it.”

“I must say, I’ve grown so fond of it, I’ll hate to see it go. He dealt paintings himself, van Goyen. A lot of the Dutch masters did. Jan Steen. Vermeer. Rembrandt. But Jan van Goyen—” he smiled—“was like our friend Boris here. A hand in everything. Paintings, real estate, tulip futures.”

Boris, in the dark, made a disgruntled noise at this and seemed about to say something when all of a sudden a scrawny wild-haired boy of maybe twenty-two, with an old fashioned mercury thermometer sticking out of his mouth, came lurching out of the kitchen, shielding his eyes with his hand against the upheld lamp. He was wearing a weird, womanish, chunky knit cardigan that came almost to his knees like a bathrobe; he looked ill and disoriented, his sleeve was up, he was rubbing the inside of his forearm with two fingers and then the next thing I knew his knees went sideways and he’d hit the floor, the thermometer skittering out with a glassy noise on the parquet, unbroken.

“What…?” said Boris, stabbing out his cigarette, standing up, the cat darting from his lap into the shadows. Horst—frowning—set the lamp on the floor, light swinging crazily on walls and ceiling. “Ach,” he said fretfully, brushing the hair from his eyes, dropping to his knees to look the young man over. “Get back,” he said in an annoyed voice to the women who had appeared in the door, along with a cold, dark-haired, attentive-looking bruiser and a couple of glassy prep-school boys, no more than sixteen—and then, when they all still stood staring—flicked out a hand. “In the kitchen with you! Ulrika,” he said to the blonde,
“halt sie zurück.”

The tapestry was stirring; behind it, blanket-wrapped huddles, sleepy voices:
eh? was ist los?

“Ruhe, schlaft weiter,”
called the blonde, before turning to Horst and beginning to speak urgently in rapid-fire German.

Yawns; groans; farther back, a bundle sitting up, groggy American whine: “Huh? Klaus? What’d she say?”

“Shut up baby and go back
schlafen.
”

Boris had picked up his coat and was shouldering it on. “Potter,” he said and then again, when I did not answer, staring horrified at the floor, where the boy was breathing in gurgles: “Potter.” Catching my arm. “Come on, let’s go.”

“Yes, sorry. We’ll have to talk later.
Schiesse,
” said Horst regretfully, shaking the boy’s limp shoulder, with the tone of a parent making a not-particularly-convincing show of scolding a child. “
Dummer Wichser! Dummkopf!
How much did he take, Niall?” he said to the bruiser who had reappeared in the door and was looking on with a critical eye.

“Fuck if I know,” said the Irishman, with an ominous sideways pop of his head.

“Come on Potter,” said Boris, catching my arm. Horst had his ear to the boy’s chest and the blonde, who had returned, had dropped to her knees beside him and was checking his airway.

As they consulted urgently in German, more noise and movement behind the Amiens, which billowed out suddenly: faded blossoms, a fête champêtre, prodigal nymphs disporting themselves amidst fountain and vine. I was staring at a satyr peeping at them slyly from behind a tree when, unexpectedly—something against my leg—I started back violently as a hand swiped from underneath and clutched my trouser cuff. From the floor, one of the dirty bundles—swollen red face just visible from under the tapestry—inquired of me in a sleepy gallant voice: “He’s a margrave, my dear, did you know that?”

I pulled my trouser leg free and stepped back. The boy on the floor was rolling his head a bit and making sounds like he was drowning.

“Potter.”
Boris had gathered up my coat and was practically stuffing it in my face. “Come on! Let’s go!
Ciao,
” he called into the kitchen with a lift of his chin (pretty dark head appearing in the doorway, a fluttering hand:
bye, Boris! Bye!
) as he pushed me ahead of him and ducked behind me out the door. “
Ciao,
Horst!” he said, making a
call me later
gesture, hand to ear.

“
Tschau
Boris! Sorry about this! We’ll talk soon! Up,” said Horst, as the Irishman came up and grabbed the boy’s other arm from underneath; together they hoisted him up, feet limp and toes dragging and—amidst hurried activity in the doorway, the two young teenagers scrambling back in alarm—hauled him into the lighted doorway of the next room, where Boris’s brunette was drawing up a syringe of something from a tiny glass bottle.

xvii.

G
OING DOWN IN THE
cage elevator we were suddenly encased in stillness: grinding of gears, creaking of pulleys.

Outside, the weather had cleared. “Come on,” Boris said to me—nervously glancing up the street—he had his phone out of his coat pocket—“let’s cross, come on—”

“What,” I said—we just had the light, if we hurried—“are you calling 911?”

“No no,” said Boris distractedly, wiping his nose, looking around, “I don’t want to stand here waiting for the car, I’m calling him to pick us up other side of the park. We’ll walk across. Sometimes some of these kids push shots that are a little too big,” he said, when he saw me looking anxiously back in the direction of the townhouse. “Don’t worry. He’ll be fine.”

“He didn’t look fine.”

“No, but he was breathing and Horst has Narcan. That’ll bring him right out of it. Like magic, have you ever seen it? Throws you right in withdrawal. You feel like shit, but you live.”

“They should take him to the ER.”

“Why?” said Boris reasonably. “What will the emergency people do? Give Narcan, that’s what. Horst can give it to him quicker than they can. And yes—he will come to puking himself and feeling like stabbed through the head, but better there than in ambulance, BOOM, shirt cut open, mask jammed down on him, peoples slapping his face to wake him, laws involved, everyone very harsh and judgmental—believe me, Narcan, very very violent experience, you feel bad enough when you come round without being in hospital, bright lights and everyone very disapproving and hostile, treating you like shit, ‘drug addict,’ ‘overdose,’ all these nasty
looks, maybe not letting you go home when you want, psych ward maybe, social worker marching in to give you the big ‘So Much to Live For’ talk and maybe on top of it all, nice visit from the cops—Hang on,” he said, “one moment please,” and started talking in Ukrainian on the phone.

Darkness. Under the foggy corona of the street lamps, park benches slick with rain, drip drip drip, trees sodden and black. Sopping footpaths deep with leaves, a few solitary office workers hurrying home. Boris—head down, hands thrust in pockets, staring at the ground—had got off his call and was muttering to himself.

“Sorry, what?” I said, looking at him sideways.

Boris compressed his lips, tossed his head. “Ulrika,” he said darkly. “That bitch. That was her that answered the door.”