The Goldfinch

by

Donna Tartt

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The Goldfinch: Part 1, Chapter 4 Summary & Analysis

Summary
Analysis
Despite Hobie’s size, he moves gracefully, leading Theo past many rows of spectacular objects. Going through the shop and into an apartment, Theo recognizes the absolute stillness of the room as the atmosphere produced by a recent death. Suddenly, he regrets coming. Hobie asks if Theo is alright, and apologizes for the mess. Theo introduces himself, saying he lives “uptown.” Hobie replies that his full name is James Hobart, but everyone calls him Hobie. He explains that Welty “was [his] business partner,” and Theo is struck by his use of the past tense. He’d optimistically imagined that, despite Welty’s injuries, he’d be able to see him again.
Theo’s encounter with Hobie is important. For the first time since the terrorist attack, he is meeting someone who also lost someone close to them in the incident. Whereas up until now Theo has felt profoundly alienated from others around him, perhaps meeting Hobie will be a chance for him to begin processing his grief through bonding with another person. 
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Hobie asks how Theo got the ring, and Theo hesitantly explains that Welty spoke to him before he died. Hobie says he’s glad there was someone with Welty as he was dying, mentioning that his body was in a horrific state. Hobie mentions Civil War photography, and then war in general. Feeling shy, Theo tries to recount his conversation with Welty, but finds that it is “like trying to explain a dream.” Hobie is shocked by the news that Welty spoke to Theo, because he’d been told Welty died instantly. Theo realizes that he was told the same thing about Audrey.
Theo knows better than anyone that the official story about what happened inside the Met is not necessarily accurate. This became clear when the investigators were questioning him about the incident, but were evidently working with very little information. Theo himself has more knowledge than most about what happened, but finds it hard to express this knowledge because of its dreamlike quality.
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Theo asks about the girl he saw, and although Hobie says she is not “okay,” he confirms that she is alive. Hobie tells Theo she is not supposed to see any visitors yet. He lights a cigarette and asks Theo if he’s the boy whose mother died in the attack. To Theo’s surprise, he begins to cry. Hobie apologizes and asks if Theo is hungry; when Theo says he isn’t, Hobie says he understands but asks Theo to “humor” him. As they walk through the apartment, Theo sees a picture of a younger Welty next to someone who looks like the redhaired girl. Hobie explains that it’s the girl’s mother, who died of cancer six years before. Welty was the uncle of the girl, Pippa.
Theo’s connection to Pippa feels even more magically fated when it is revealed that she has also lost a parent (as well as her uncle). The fact that her name is Pippa links her to another famous orphan in literary history—Pip from Charles Dickens’ “Great Expectations.” This is especially significant considering that “The Goldfinch” is often read as a Dickensian novel.
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They walk past Pippa’s room, but Hobie doesn’t let Theo go inside. He explains that Pippa has a dog in there, even though her nurse opposes it. Her skull was fractured and leg broken in the explosion, and she was in a coma for a while. Hobie notes that the investigators told him it is common for crowds of people to be physically affected in very different ways from bomb attacks. Theo asks how Pippa got out, and Hobie explains that she’d been trapped under a pile of debris and was found by a sniffer dog.
For the first time, it becomes obvious that Theo is at least in one sense relatively lucky. Although he lost Audrey in the terrorist attack, he himself emerged physically unscathed.
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Hobie serves Theo something on toast which he can’t identify, but finds delicious. It reminds him of something Audrey used to make. Hobie asks Theo what his interests are, and which subjects he likes in school. Theo realizes it is “the most enjoyable conversation [he’s] had in a while,” as Hobie is speaking to him like a normal kid. Theo mentions that Larry used to tease him for liking Edgar Allen Poe, then adds that Larry was an actor, although he was never particularly successful. Theo explains that Larry abandoned them, noting that he had a drinking problem. It is the first time Theo has spoken about this since Audrey’s death.
Perhaps Hobie finds the right way to talk to Theo because he too is experiencing grief, and thus he understands how Theo is feeling. However, Theo himself indicates that the actual reason why this conversation is so pleasant is because Hobie treats him like a normal person. Hobie is actually interested in what Theo thinks and feels, a sign of respect that Theo has not received very frequently since Audrey’s death.
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Hobie mentions that he knows of Mrs. Barbour, although he has not met her personally. He says she has a “good eye” and an impressive collection of antiques. Theo is shocked that Hobie knows he is staying at the Barbours’, and Hobie explains that it was in an article in the New York Times about children whose parents died in the attack. Apparently, the article noted that Theo defended Andy from school bullies, which Theo points out is not really true. Theo asks if Hobie is going to reopen the shop, but Hobie explains that Welty ran the business side of things, and there’s too much information he doesn’t know. 
On top of all the other ways in which Theo’s life has been made surreal, he must now deal with the fact that he is also a public figure of pity. His resistance to being framed as a hero to Andy is significant. Thus far, the novel has made clear that Theo struggles to accept that he is a good person, and instead has a tendency to direct anger and blame at himself. 
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Andy texts Theo to check if he’s ok, but Theo ignores it. Hobie mentions how moved he is by the return of Welty’s ring, and then notices that Theo has been staring at a wooden Noah’s Ark sitting nearby. He explains it was one of the first antiques he ever bought. Theo asks if he can see Pippa and Hobie agrees, though explains she’s still “a bit muddled” and that it would be best if Theo didn’t mention Welty.
Even just being in the shop, surrounded by the antiques, seems to have a positive, reassuring impact on Theo. Indeed, this is one of many moments in the novel during which beautiful objects are shown to have a soothing impact on people.
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Pippa’s room is very dark, but she won’t let Hobie open the curtain because it will hurt her eyes. Her head is shaved, and staples are visible by her hairline. When Theo introduces himself, she asks what his favorite piece of music is. He says Beethoven, and she replies that he looks like someone who likes Beethoven. They both confess that ever since the explosion, they both suffer from random bouts of exhaustion during the day. Theo notices that Hobie has left the room, and—to his own surprise—he takes Pippa’s hand. Apologizing, she says she has to close her eyes for a second.
In this scene, it remains open for debate whether the mysterious, instantly strong connection Theo feels with Pippa is reciprocated. She is certainly friendly and accepts his affection warmly. Yet the fact that she asks him about his favorite music recalls the nonsensical way in which Welty spoke to Theo when he mistakenly thought he was a Lycée student and musician. There is a chance that Pippa is similarly confused.
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Theo leaves the room, and Hobie explains that ever since the explosion, Pippa can be stiff and formal with people she knows well and very friendly and open with strangers. Apparently this is a common consequence of head injuries like hers. He explains that listening to music makes her distressed, as it makes her think she needs to practice. In reality, her chance of having a professional performance career is over. Pippa’s nurse rings the bell, and when Theo asks if he can come back to visit Pippa, Hobie pleads that he does so.
This passage exposes another way in which Theo is relatively lucky, at least compared to Pippa. Her injuries not only ruined the career she hoped to have, but also alienated her from music, which is clearly highly important to her. Indeed, in a novel about how art gives meaning to life, there could be few fates crueler than this.
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Mr. Barbour is taking the children to dinner at the Yacht Club without Mrs. Barbour, who is busy. Andy asks about Theo’s day, and Theo replies that it was “a little weird,” but that he’s happy he went. Andy tells Theo he’s sorry about how “fucked up” everything is, and recalls his fondness of Audrey. Audrey liked Andy, too, to a point that sometimes made Theo jealous. Theo says he’s hungry, and Andy sarcastically comments that he thought Theo had been starving himself to fit into his prom dress. Mr. Barbour accidentally overhears Theo say “fuck you,” but simply says he’s glad that Theo seems to be feeling better. In the coming days, the whole Barbour family notices that Theo’s appetite has returned.
Again, this passage represents another turning point. Theo’s renewed appetite shows that some of his abject despair has lifted—as does the fact that he is able to joke around with Andy. Most importantly, Theo and Andy communicate in a direct and earnest way about Audrey’s death. It is clear that talking to Hobie has inspired Theo to open up to other people, as well. Indeed, this is one of many moments in which friendship is shown to have a redemptive effect on people.
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Theo goes to see Dave and, as usual, struggles to answer the basic question he poses about how he is doing. He has been given medication but doesn’t like that it makes him feel “tired and headachy,” so he has been spitting it out. Now, however, he says that the medication has been helping a little. Dave suggests that Theo seems to be feeling better, but Theo doesn’t feel like “better” is the right word to describe his state. He feels hugely sensitive to the world around him, the good and the bad. Going to see Hobie and Pippa was the most “resonant and real-seeming thing” that has happened to Theo lately, but Andy is the only person he’s told about it.
The most important words in this passage are “resonant” and “real.” Between Audrey’s death and this point in the novel, Theo has been living in a state of unreality that has mostly resembled a horrible dream. However, his visit to Hobart and Blackwell has reconnected him with the world. The experience of being reawakened to the vividness of one’s surroundings is similar to the impact that great works of art have on people.
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Dave says that the adults around Theo have told him that Theo’s undergone an “upswing” lately. He asks Theo if he can explain it, but Theo just shrugs. A few days later, Theo asks Andy to “cover” for him while he goes downtown to Hobie’s again. Andy agrees to tell Mrs. Barbour that Theo is at the library. When Theo arrives at Hobie’s, he is surprised to find Hobie wearing a suit. Pippa’s dog Cosmo is in the kitchen rather than in Pippa’s room, and Hobie explains this is because Pippa’s aunt Margaret does not like having him around. He tells Theo that Margaret is taking Pippa to Texas the day after next. Pippa is going to live there, although Hobie assures Theo she’ll come back to New York to visit.
This passage contains an example of a pattern that happens repeatedly throughout the book. Theo feels a burst of hope and happiness, only to have this hope dissolve into despair when circumstances suddenly change. In this case, the crush of disappointment comes in the form of Theo learning that Pippa is moving away, just after her presence started to make him feel positive and alive again. What is perhaps most difficult for Theo to deal with is how out of his control it all is.
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Theo is crushed. Hobie is clearly pretending to think that moving is the right thing for Pippa, when really he does not believe it is. He says that Cosmo is staying in New York. He also explains that Margaret and Welty had not been on speaking terms because “Margaret was quite against Pippa’s mother.” At this point Margaret enters the room and introduces herself using her full name, Margaret Blackwell Pierce. She says she is happy to meet Theo and especially grateful that he returned her grandfather’s ring, which she claims was “lost.” Shocked, Theo asks to go and see Pippa.  
Throughout the novel there are occasions when existing family tensions become chaotic thanks to a sudden, tragic event. In this case, Margaret is allowed to assume control of Pippa’s life despite the fact that she did not have a good relationship with Welty, Pippa’s guardian and father-figure, before he died. Indeed, this is yet another example of the ways in which familial relations can be damaging and painful. 
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When Theo comes into her room, Pippa requests that he turn off the light and then offers an earbud so they can listen to her iPod together. He notices that she’s been crying, and she explains that she doesn’t want to leave. They talk about the fact that both their mothers are dead, though Theo does not mention that Audrey was killed in explosion at the Met. They hold hands. Theo says that he’s going to have to leave soon too, to go and live with his grandparents. Pippa says that she has to go with Margaret because Hobie is not her “real uncle,” and Theo replies that he wishes Hobie was so that she could stay. His heart hammers.
This passage contains a further explanation of the way in which the privileging of “real” family over friendship and nonofficial familial connections can end up harming people. It seems clear that it would be better for Pippa to stay in a familiar environment with someone (Hobie) who knows her well. Yet simply because Margaret is her “real” aunt, she has the right to decide Pippa’s fate.
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Theo asks if Pippa remembers seeing him in the Met before the explosion, and she says she doesn’t. They kiss, and Theo thinks the strange taste is from a morphine lollipop Pippa had been sucking. When Theo says goodbye, he feels reassured by Hobie’s hand on his shoulder in a way he hasn’t experienced since Audrey’s death. Margaret notices that he is crying, and urges him to come and visit, boasting that she lives in “one of the biggest Tudor houses in Texas.”
Although overall this is a tragic moment in the narrative, in the midst of this despair a strong note of hope emerges in the form of Theo and Pippa’s friendship. Although they hardly know each other, they clearly have a kind of instant intimacy through their shared experiences. This provides hope in what is generally a terrible time for both of them.
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When Theo meets up with Andy again, Andy declares Texas “boring.” He lists the things Pippa might do there, and Theo wonders how anyone can have such a robotic manner. Back at the Barbours’, Theo feels horrifically lonely. Andy complains about the upcoming sailing trip to Maine, but Theo points out his fate of going to his grandparents’ in Maryland isn’t much better. Andy suggests that Theo work as hard as possible at his new school so he can graduate early and escape to college with a scholarship. He points out that Theo is smart and that adults like him (although Theo himself believes this is only because his mother is dead).
This passage contains a surprising addition to Andy and Theo’s dynamic: despite everything that Theo is going through, Andy remains somewhat jealous of him, because of the way in which Theo is able to charm adults. This shows that, no matter how powerless a person appears, there may be unexpected sources of power that they can still manage to manipulate to their advantage.
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A week after Pippa leaves, Theo goes back down to see Hobie, who serves him a dessert that looks disgusting but tastes delicious. Hobie tells Theo that Pippa cried for hours after they spoke on the phone, and that he wishes he “knew how to make things better.” Margaret has said that she doesn’t think it’s a good idea of him to visit Pippa until she’s settled down. Theo asks why Pippa didn’t know Margaret until now, and Welty explains that Pippa’s grandfather, Mr. Blackwell, had three children with different mothers: Welty, Margaret, and Pippa’s mother, Juliet. When Welty got tuberculosis as a child, an unsympathetic Mr. Blackwell sent him away from Egypt to live in America with relatives.
The story about Welty’s family shows how family tensions can actually be inherited and multiplied over several generations, causing even greater problems down the line. Although Pippa is obviously not personally implicated in her grandfather’s cruel personality, Welty’s tuberculosis, or the tensions between the Blackwell siblings, these issues from the past come to greatly affect her life in the present. 
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Then, due to the political situation in Egypt, the rest of the Blackwell family had to leave. Mr. Blackwell married a wealthy Texan woman (Margaret’s mother) and lived a luxurious lifestyle in Houston. He continued to have affairs, and in his late 60s had his third child, Juliet, with his hairdresser. At this point Margaret, already an undergraduate at Vassar, stopped speaking to her father. Mr. Blackwell grew to hate Juliet’s mother and wanted to leave nothing for her or Juliet in his will, but Welty intervened because he was worried about Juliet, a neglected child whom nobody wanted. He brought Juliet to this house Hobie and Theo are currently sitting in when she was six and acted as her parent for the rest of her life.
Clearly, the problems in Welty’s family were not only caused by Mr. Blackwell’s cruel personality, but also by issues of class. The fact that Margaret’s mother was a wealthy, high-society woman and Juliet’s mother was a hairdresser was implicitly a factor in why Margaret and her mother came to resent Juliet. In contrast to his callous and shallow family members, Welty had a strong sense of ethical duty that was not overruled by class prejudice.
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Hobie then takes Theo to see his workshop, which is packed with different kinds of furniture. He asks if Theo likes “old things,” and Theo, nodding, acknowledges this fact about himself for the first time. Theo explains that while the Barbours’ apartment is filled with beautiful objects, it is cold and austere, like a museum. Hobie’s workshop has a more comfortable, inviting atmosphere. Having noted that Theo has “a good eye for furniture,” Hobie asks if he would like to help out in the workshop, and Theo says yes.
This is another very important turning point in the novel. Before this moment, Theo was an ordinary kid in the sense that he didn’t have any particular interests or talents. Here, however, Theo realizes that he has both a special appreciation for antiques and a talent (“good eye”) for them. This provides another new sense of happiness and hope for Theo.
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Dave is always telling Theo to get a hobby, which Theo finds a ridiculous form of advice for coping with mourning. In fact, most of the adults in Theo’s life seem to believe that he should take up a hobby. The school counselor insists that it’s important Theo find an activity that connects him to other people and the world, and Theo finds this annoying. Yet it turns out that Theo does inadvertently take up a hobby, in the form of helping out at Hobie’s workshop. He learns the intricacies of antique furniture, including how to distinguish authentic details from fabrications. He learns that fakes tend to have a “flat, dead quality,” without the special “glow” that comes from having been touched by humans over many years.
Theo’s resentment at being told to get a hobby alongside his enthusiastic embrace of the hobby he does take on provides a useful lesson about the way people—and particularly teenagers—respond to assistance and advice. Often, even the most well-meaning advice can seem irrelevant, unhelpful, and patronizing, even if it is actually prudent. The reality is that advice is often rather useless, and young people must learn to figure things out on their own.
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Quotes
Although Theo loves the antiques and working in the workshop, his favorite thing about being there is spending time with Hobie. Hobie understands Theo better than the many adults whose job it is to “get inside [Theo’s] head.” Hobie treats Theo as an equal whom he actually enjoys talking to, and Theo loves hearing stories about Hobie’s own childhood. Hobie’s mother also died when he was young, and his father beat him. Spending time with Hobie is a total change from life at the Barbours’, where Theo is treated kindly, but distantly. It brings him comfort to know that Hobie is always only “a bus ride away.” 
Again, the particular comfort that Hobie brings to Theo arguably lies in the fact that he is not a family member (or a replacement family member), but Theo’s friend. Although familial relationships are very important, friendships can bring particular benefits that familial relations cannot. Here, Theo emphasizes that he appreciates being treated as an equal by Hobie, which is the hallmark of a healthy, loving friendship.
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Yet Andy is struggling to keep explaining Theo’s absences, and he suggests that they tell Mrs. Barbour the truth. Theo isn’t sure, as he’s worried she will find out that he falsely claimed Welty’s ring was a family heirloom. However, on a whim he tells Mrs. Barbour that he’s been downtown visiting an old friend of Audrey’s called James Hobart. He says that Hobie would like to meet Mrs. Barbour and suggested they all go out to lunch. Mrs. Barbour responds vaguely; she is distracted by the fact that Platt, who has just come home, is in trouble at boarding school. Andy suggests that they go to a restaurant and grab a hamburger for dinner to avoid the family drama, and Kitsey begs to come along, too.
Theo’s insistence on lying clearly ends up alienating him from others, and—worse—makes him seem guilty when in reality he hasn’t done anything wrong. Yet it is also clear that hiding the truth has emerged from a spiral of confusion and guilt about everything that happened in the aftermath of the terrorist attack at the Met. The more Theo lies, the more he feels forced to lie—a spiral leading Theo to perpetrate immoral acts for no reason. 
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Wanting to support Andy, Theo doesn’t go to Hobie’s, although the atmosphere at the Barbours’ is horrible. Neither Andy nor Theo know what Platt has done, but it’s clear that it’s bad. Andy comments that Platt is Mrs. Barbour’s favorite, whereas Kitsey is Mr. Barbour’s favorite. Andy admits that if he didn’t look so much like his mother he would assume he’d “been switched at birth.”
This passage contains further examples of the failures of family. While it is common for parents to insist that they love all their children equally, Andy feels certain that this isn’t true in reality. Indeed, he feels miserable because of the ways in which he fails to resemble his family members.
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During this period, Theo considers telling Hobie about The Goldfinch, which is still in his and Audrey’s apartment. Theo has already gone so long without mentioning it to anyone that he worries it is simply too late now. He cannot return it to the Met anonymously, because ever since the explosion any unmarked package would be immediately destroyed. Although he knows there are mitigating circumstances that mean he is not fully blameworthy for the theft, he also feels vulnerable in his “homeless limbo,” and is thus reluctant to confess. Then, one day, Theo comes across a part of the newspaper where he finds an article about art and the insurance industry. It includes a photo of The Goldfinch with a caption listing it as “destroyed.” 
Because Theo is only 13, there are obvious solutions to the dilemma of having stolen the painting that are not apparent to him. First of all, he would likely not be in serious trouble if he confessed, particularly considering his age and the mitigating circumstances surrounding the theft. Furthermore, although he could not drop off the package anonymously, he could still find a way to leave the painting somewhere and provide an anonymous tip. However, because Theo is still young and in many ways quite naïve, he remains stuck. 
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Quotes
Theo quickly scans the piece, trying to look for other mentions of The Goldfinch. However, at this moment Mr. Barbour enters and asks if Theo would like to join the family in Maine that summer. Thrilled, Theo immediately says yes. Although Andy remains staunchly opposed to the sailing part of the trip, he is clearly also excited that Theo is coming, too. Theo is overjoyed both by the news about Maine and the fact that The Goldfinch is thought to be destroyed, which gives him more time to decide whether to confess. He is still “naïve” enough to believe that he could have sold it if he needed to. 
Recall that Theo is trying to be the best guest possible so that he continues to be allowed to stay at the Barbours’. This is another important factor preventing him from owning up to his theft of The Goldfinch. Whereas if he were back in his normal life, still living with Audrey, he might have felt secure enough to admit the truth, right now his life is so unstable and uncertain that this doesn’t feel like a possibility.
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Hobie tells Theo that his father owned a trucking company and believed that Hobie was spoiled by “too much education.” He stopped paying Hobie’s tuition after his second year of college, then made Hobie work for him for free in order to pay him back for the first two years. Welty was a customer of the trucking company, and after witnessing Hobie’s father cruelly berate Hobie one day, Welty asked to hire Hobie himself. After spending a day together packing up a mansion, Welty offered Hobie a permanent job at his new business in New York, which Hobie accepted. 
It was clearly a pattern that during Welty’s life, he would always help vulnerable people who were treated unfairly. This was true of Welty’s care for Juliet and Pippa, but also his employment of Hobie. Although Theo only knew Welty for a matter of minutes, he has come to know him indirectly via Hobie, and has thus learned that he was a profoundly moral, caring man.
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Hobie explained that he learned about antiques just by watching others who worked in the business. Welty preferred the business side of things to restoration work. Hobie’s father never paid him any of the money he earned, and Hobie never went back to college, but it didn’t matter because he’d discovered his calling. Hobie suggests that maybe Theo will find his calling on the sailing trip. However, Theo himself is more focused on the signs indicating that the Barbours might be interested in adopting him. Andy recently told him that Mr. and Mrs. Barbour believe Theo is a positive influence on Andy, and that they might announce in Maine that they want to “keep” him.
While Hobie playfully suggests that Theo might find his “calling” during the sailing trip, in reality Theo has already found his calling: working in the antiques restoration business with Hobie. Just as Welty saved Hobie from his father through hiring him, so has Hobie saved Theo from the despair of mourning Audrey by having him help out in the workshop.
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Theo takes the bus back uptown. When he gets to the Barbours’, he is stunned to see his father, Larry, waiting for him with Mrs. Barbour. Larry looks tan, and is accompanied by another very tan woman with dyed hair and gold jewelry, who introduces herself as “Xandra with an X.” Shocked, Theo stares at her tattooed toe, French tip nails, and starfish-shaped earrings. By this point Mrs. Barbour has disappeared, and Larry tells Theo that he is now living in Las Vegas, and that he and Xandra have come to “get” Theo. Xandra says that Larry is 51 days sober. Looking at him, Theo isn’t sure if he believes this.
Once again, a hopeful moment—sparked by Theo’s friendship with Hobie, Mr. Barbour’s invitation, and Andy’s indication that his parents might want to adopt Theo—is ruined by an unexpected change in circumstances. When Theo needed Larry (or at least some kind of adult who would take care of him), Larry was not there. Now, he has arrived at the worst time imaginable.
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Larry says that they need the key to Theo and Audrey’s apartment to sort through the “mess” there. Theo suddenly remembers a fight Larry and Audrey had over some earrings of Audrey’s that had gone missing. Larry blamed Audrey for leaving things a “mess,” then became furious when he thought she was implying that he had stolen the earrings. After Larry left the family, Audrey realized that other items, such as her father’s antique coins and a bundle of cash were also gone. Lying, Theo says that he doesn’t have the key, but suggests that if he goes to the apartment with Larry and Xandra one of the doormen might let them in. Larry reluctantly agrees.
Larry is immediately presented as a very shady, if not outright immoral person. Not only did he steal from his own wife, but he lied about it and blamed her. Theo connecting Larry’s current behavior to this memory suggests that it is unlikely that Larry has changed, or that his intentions for coming to New York are good. Indeed, his interest in going to Audrey and Theo’s apartment seems quite transparent: he wants whatever is there for himself.
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Theo is overjoyed to see the doorman, José, again. Theo asks in Spanish if José will let them into the apartment, adding a request that José comes up with them, and José agrees. Xandra, whom Theo has concluded is not particularly smart, chatters away about the journey from Las Vegas on the ride up to the apartment. When they get in, Theo immediately sees the package containing The Goldfinch exactly where he left it. José subtly distracts Larry, giving Theo time to get the painting. Still chatting to José, Xandra mentions that she’s from Florida. Theo picks up the bag and realizes it is empty. He briefly panics, but then remembers that the bag had been wet and that he’d put the painting on Audrey’s bureau.
Here, Theo is once again saved by friendship—in this case his friendship with José. Significantly, Theo is also able to manipulate the situation due to his own cunning and his ability to speak Spanish. In this passage, Theo’s intelligence is contrasted with that of Xandra. Whereas Xandra seems somewhat ditzy and oblivious, Theo moves through the world in an observant, sensitive, and strategic manner. Indeed, his ability to manipulate the situation is strikingly adult.
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Theo is overwhelmed by the faint smell of Audrey in her bedroom, along with framed photographs and scraps of her handwriting. He manages to retrieve The Goldfinch and bring it to his bedroom, but at this moment Larry comes in, and Theo hastily throws a towel over the painting. Larry tells Theo not to bring a lot of stuff to Las Vegas, explaining that Theo won’t need warm clothing, although he should perhaps pack “ski stuff.” He then begins talking about how Audrey was difficult to live with, how she could be cold and uncommunicative. Theo actually agrees, but doesn’t want his father to know this. Larry says that he left because he had to withdraw money from their joint bank account and Audrey “flipped her lid.”
Again, Larry’s callousness indicates that he has not arrived in New York because he cares about Theo or is worried about him. It is possible he has been compelled to take responsibility for Theo by the authorities, or—even more sinister—is doing it because he sees an opportunity to advantage himself. Either way, the fact that he is speaking badly about Audrey to Theo so soon after her death indicates that he is a profoundly selfish, cruel person.
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Larry continues to gripe about Audrey, while Theo remains silent. Eventually Xandra joins them in Theo’s bedroom and leads Larry away to “show [him] something.” Suddenly, Theo feels emotionally overwhelmed by all the things in the apartment, reminders of Audrey and the life they shared. He gets out his suitcase and fills it with clothes, placing The Goldfinch on top. Calling out to Larry, he announces that he is going back downstairs to talk to José, and Larry says alright in a somewhat stiff, strained voice. Down in the lobby, Theo runs into Goldie, who embraces him in a hug and offers heartfelt condolences. Goldie wipes tears from his eyes, telling Theo how devastated he was to learn of Audrey’s death.
The fact that Larry is such a sinister and untrustworthy presence means that Theo isn’t even given the opportunity to mourn Audrey or let himself feel the intense nostalgia and anguish brought on by being back in their shared home. Fortunately, the brief moments of kindness shown to him by José and Goldie at least provide a little space for him to grieve.
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José joins the conversation, sharing his own fond memories of Audrey, who was kinder than the other, “snobby” residents of the building. Theo asks if he can leave the bag containing The Goldfinch with José, promising that he will be back to pick it up and asking José not to give it to anyone else. José agrees. He then assures Theo that he and the other doormen haven’t said anything to the men who’ve been coming around asking about Larry. Theo is surprised by this, and doesn’t know who these men might be.
Although Theo is highly intelligent and mature for someone his age, there is still much that confuses him, in part because all the information he receives about the world around him (including about his own fate!) comes with so little explanation. This prevents him from knowing whether to trust Larry, although doing so is looking less and less appealing.
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Then, to Theo’s even greater surprise, Goldie hands him a “giant wad of cash.” He tells a story about how Audrey once paid for a computer that he’d ordered for his son—a story Theo doesn’t quite believe. He wonders if the doormen have raised money for him out of pity. Due to his state of shock, Theo accepts it without asking any questions. José and Goldie advise him not to tell anyone about it and keep it for himself.
José and Goldie are both truly kind, generous men who evidently have Theo’s best interests at heart. Perhaps most importantly, neither of them is naïve. They know that Theo will need to protect himself, which is why they urge him to keep the money for himself.
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That night at a “touristy” restaurant, Larry takes a call from Audrey’s insurance company, which Theo can’t hear because Xandra is talking too loudly. When Larry gets off the phone he orders a bottle of champagne for Xandra and Theo, although the waiter bans Theo from drinking it because he is underage. Xandra sneakily pours Theo some anyway. Larry and Xandra end up discussing Larry’s failed acting career, which “fizzled out” shortly after he and Audrey got married. Larry has always somewhat blamed Audrey for this turn of events. Watching this conversation, Theo begins to feel drunk for the first time in his life. Before he knows what’s happening, Theo realizes he is speaking out loud: “She was so great and why was everybody so horrible to her?”
Everything about the evening is strange and wrong. It is odd for Larry to choose a touristy restaurant given that he used to live in New York. It is suspicious that, as a theoretically sober alcoholic, he is so intent on getting Theo to drink alcohol. Yet perhaps the strangest part of the evening is the celebratory mood. While Larry might be acting as though he is happy to be reunited with Theo, it is weird to be celebrating considering that the circumstance that brought them back together is Audrey’s recent death.
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When Theo gets back to the Barbours’, he can tell from Mr. and Mrs. Barbour’s reactions that they know he is drunk. The next morning, he feels horrifically hungover. Mr. Barbour asks Theo about Larry, trying to keep his tone friendly. Platt mentions that Theo was drunk last night, and Mr. Barbour immediately sends him to his room.
Here is another example of Theo being “allowed” to break a rule because of the mitigating circumstances of Audrey’s death (and Larry’s suspicious reappearance). Whereas in a different context he would be punished, Mr. and Mrs. Barbour turn a blind eye.
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Larry is in a hurry to return to Las Vegas, and only days after he arrives he sends movers to Audrey and Theo’s apartment to pack it up. A used book seller and antiques dealer come over to see what they can sell. As everything is taken away, Theo feels as if it is his life itself that is being erased. Meanwhile, at the Barbours’, Theo packs up his belongings in boxes and addresses them to his new home on “Desert End Road” in Las Vegas. Andy comments that it’s like Theo is moving to “a different planet.” Although the rest of the Barbours don’t say so directly, all of them seem worried about Theo’s upcoming move.
Again, the fact that Theo is leaving New York and his relatively stable (albeit temporary) home at the Barbours indicates that whoever has made this decision does not necessarily have his best interests at heart. This is especially true considering that Larry abandoned Theo and Audrey. Yet simply due to the force of their biological relation, Larry is able to take Theo back and move him across the country.
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Hobie, meanwhile, suggests that “a change of scenery might be good” for Theo. Hobie asks if Theo is scared of going to live with Larry, and Theo says he isn’t, adding that Larry has stopped drinking. He admits that he doesn’t understand what Larry sees in Xandra, who does not seem “all that nice.” Theo notes that he appreciates that Larry and Xandra have come to get him, because they didn’t have to. Hobie reminds him that he can always call him. When Theo leaves, he thinks that it is the last time he will ever be in Hobie’s house. This assumption is incorrect.
Theo seems to struggle to admit that he is afraid, even though he doesn’t hide the fact that he doesn’t think Xandra is particularly “nice.” Perhaps Theo feels pressure to put on a brave face and be courageous in front of the adults around him because, after Audrey’s death, he no longer trusts that anyone is truly protecting him. He must therefore protect himself.
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