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The Goldfinch: A Novel (Pulitzer Prize for Fiction) Paperback – April 7, 2015
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"A soaring masterpiece."―Ron Charles, Washington Post
"Dazzling....A glorious, Dickensian novel, a novel that pulls together all Ms. Tartt's remarkable storytelling talents into a rapturous, symphonic whole and reminds the reader of the immersive, stay-up-all-night pleasures of reading."―Michiko Kakutani, New York Times
"The Goldfinch is a rarity that comes along perhaps half a dozen times per decade, a smartly written literary novel that connects with the heart as well as the mind....Donna Tartt has delivered an extraordinary work of fiction."―Stephen King, New York Times Book Review
"The Goldfinch is a book about art in all its forms, and right from the start we remember why we enjoy Donna Tartt so much: the humming plot and elegant prose; the living, breathing characters; the perfectly captured settings....Joy and sorrow exist in the same breath, and by the end The Goldfinch hangs in our stolen heart."―Vanity Fair
"Drenched in sensory detail, infused with Theo's churning thoughts and feelings, sparked by nimble dialogue, and propelled by escalating cosmic angst and thriller action, Tartt's trenchant, defiant, engrossing, and rocketing novel conducts a grand inquiry into the mystery and sorrow of survival, beauty and obsession, and the promise of art."―Booklist (starred review)
"There's a bewitching urgency to the narration that's impossible to resist. Theo is magnetic...The Goldfinch is a pleasure to read."―Publishers Weekly
"A long-awaited, elegant meditation on love, memory, and the haunting power of art....Eloquent and assured, with memorable characters....A standout--and well-worth the wait."―Kirkus Reviews (starred review)
"It's a classic...If you haven't read it, read it. If you have, read it again."―Andy Cohen, Today Show
"Where to begin? Simply put, I'm indescribably jealous of any reader picking up this masterpiece for the first time. And once they do, they will long remember the heartrending character of Theo Decker and his unthinkable journey."―Sarah Jessica Parker for Goop
About the Author
Donna Tartt is the author of The Goldfinch, which was awarded the 2014 Pulitzer Prize for Fiction, as well as the Andrew Carnegie Medal for Excellence in Fiction. Her novels The Secret History and The Little Friend have been translated into 30 languages. She was born in Greenwood, Mississippi and is a graduate of Bennington College.
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Donna Tartt is at times a brilliant writer and a masterful wordsmith. But she reminds me of a Grammy-winning jazz trombonist that I saw at a club once. He was an amazing technician and could coax more notes and different sounds out of the trombone than anyone I had ever heard. And while I could certainly appreciate his technical abilities and marvel at the otherwordly sounds he could create with the instrument, in the end the performance was not satisfying. I was looking for some semblance of a melody and artistry at least somewhat pleasant to the ear, but what I got was a cacophanous display of technical ability.
Yes, you can have too much of a good thing. And Donna Tartt proves it with The Goldfinch. No matter how skillfully she writes about Theo's drug-fueled escapades in Las Vegas, we are so tired of hearing about them after a while. And regardless of how well she conveys all of the things going through his mind while holed up in a hotel in Amsterdam, we just don't care at some point.
I understand the tendency of a good writer to do more of what she does well. What I don't understand is the writer's conceit in not recognizing and overcoming that tendency. While I see this as a serious fault in a writer, I find it unforgivable in an editor. Both of them are guilty of taking a 500 page great book and turning it into an 800 page good book.
I can’t help feeling that this book is almost a companion piece to the Catcher in the Rye. The two novels obviously have some common themes, but it’s more the tone than the construction that reminds me of Salinger, though this book would have been greatly improved if the writer had followed Salinger’s lead in brevity. There are portions of the novel where the writer is so in love with the language (and, god she can write!) that she benumbs the point and loses the thread of the plot. But that is forgivable from writer such obvious talent...though I did find myself skimming the endless detail of crowd scenes and the tiresomely repetitive though beautiful inner workings of Theo's thought processes about the goldfinch, his life, his love, etc. The writer paints characters with such swift deft strokes of a painter working in the fast drying plaster of a fresco that the sudden turn to intense stippling when we dive beneath the surface of the main character becomes plodding. I know the framework of the story hangs on the painting of the goldfinch but I found myself almost annoyed when the goldfinch was re-inserted in the story. The characters are so well done so intriguing that even the superficial characters like the magician-cabby Appear full-blown on the page. I would have enjoyed more of that when it came to Theo. Sometimes ambiguity is better than a dissertation.
The end of the book takes on the one of a thriller, and what a thriller it would have been without the self-pitying Theo. the denouement was a real chore to get through, the book was over why not let it be over?
All in all I enjoyed this book but would have enjoyed it more if the author had spent a little more time winnowing out some of the repetitive descriptions and similes. I liken it to walking through the Louvre. try to cram it all into a day and you end up with an eyerolling 'woo-hoo , another masterpiece.'