Текст книги "The Goldfinch "

Автор книги: Donna Tartt

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Текущая страница: 41 (всего у книги 55 страниц)

“There’s traffic,” Platt said eagerly, with a glance at his mother. “She’s stuck. The expressway is a mess. She’s phoned Forrest,” he said, turning to me, “they’re holding dinner.”

“Maybe,” said Mrs. Barbour, thoughtfully, after a pause, “maybe you and Theo should go out and have a drink? Yes,” she said decisively, to Platt, as if the matter had been settled, folding her hands. “I think that’s an excellent idea. You two go out and get a drink. And you!” she said, turning to me with a smile. “What an angel you are! Thank you so much for my book,” she said, reaching to clasp my hand. “The most wonderful present in the world.”

“But—”

“Yes?”

“Won’t she need to come back here and freshen up?” I said, after a slightly confused pause.

“Sorry?” Both of them were looking at me.

“If she’s been playing golf? Won’t she need to change? She won’t want to go to Forrest’s in her golfing clothes,” I added, looking back and forth between the two of them, and then—when neither of them replied—“I don’t mind waiting here.”

Thoughtfully, Mrs. Barbour pursed her lips, with heavy-looking eyes—and all at once, I got it. She was tired. She hadn’t been expecting to have to sit around and entertain me, only she was too polite to say so.

“Although,” I said, standing up, self-consciously, “it is getting on, I could use a cocktail—”

Just then, the phone in my pocket, which had been silent all day, chimed loudly: incoming text. Clumsily—I was so exhausted I could hardly figure out where my own pocket was—I fumbled for it.

Sure enough, it was Kitsey, jingling with emoji. ♥♥Hi Popsy ♥ runningan hour late! Hope I caught you! Forrest & Celia holding dinner, meet you there 9pm, love you mostest! Kits

xiv.

FIVE OR SIX DAYS later, I still had not fully recovered from my evening with Boris—partly because I was busy with clients, auctions to go to, estates to look at, and partly because I had grueling events with Kitsey nearly every night: holiday parties, black-tie dinner, Pelléas et Mélisande at the Met, up by six every morning and bed well after midnight, one evening out until two a.m., scarcely a moment to myself and (even worse) scarcely a moment alone with her, which normally would have driven me crazy but in the circumstances kept me so submerged and embattled with fatigue that I didn’t have much time to think.

All week long, I’d been looking forward to Kitsey’s Tuesday with her girlfriends—not because I didn’t want to see her, but because Hobie had a dinner out and I was looking forward to being on my own, eating some leftovers from the fridge and going to bed early. But at closing time, seven p.m., I still had some catching-up to do in the shop. A decorator, miraculously, had shown up to inquire about some expensive, out of fashion, and impossible-to-sell pewter that had been gathering dust atop a cabinet since Welty’s day. Pewter wasn’t something I knew much about, and I was looking for the article I wanted in a back number of Antiques when Boris dashed up from the curb and knocked on the glass door, not five minutes after I’d locked up for the day. It was pelting rain; in the ragged downpour he was a shadow in an overcoat, unrecognizable, but the cadence of his rap was distinct from the old days, when he would circle around to the patio at my dad’s house and tap briskly for me to let him in.

He ducked in and shook himself violently so the water went flying. “You want to ride with me uptown?” he said without preamble.

“I’m busy.”

“Yes?” he said, in a voice at once so affectionate, and exasperated, and transparently, childishly hurt, that I turned from my book shelf. “And won’t you ask why? I think you might want to come.”

“Uptown where?”

“I am going to talk to some people.”

“And that would be about—?”

“Yes,” he said brightly, sniffling and wiping his nose. “Exactly. You don’t have to come, I was going to bring my boy Toly, but I thought for several reasons it might be good if you wanted to be there also—Popchyk, yes yes!” he said, stooping to pick up the dog, who had trundled up to greet him. “Glad to see you too! He likes bacon,” he said to me, scratching Popper behind the ears and rubbing his own nose at the back of Popper’s neck. “Do you ever cook bacon for him? Enjoys the bread too, when is soaked with grease.”

“Talk to who? Who is this?”

Boris pushed the dripping hair out of his face. “Guy I know. Named Horst. Old friend of Myriam’s. He got stung on this deal too—honest, I do not think he can help us, but Myriam suggested might not hurt to talk to him again? and I think maybe she is right about that.”

xv.

ON THE WAY UPTOWN, in the back of the town car, rain pounding so hard that Gyuri had to shout for us to hear him (“What a dog’s weather!”) Boris filled me in quietly about Horst. “Sad sad story. He is German. Interesting guy, very intelligent and sensitive. Important family too… he explained to me once but I forgot. His dad was part American and left him a load of money but when his mother remarried—” here he named a world-famous industrial name, with a dark old Nazi echo. “Millions. I mean you can’t believe how much money these people have. They are rolling in it. Money out the ass.”

“Yep, that’s a sad story, all right.”

“Well—Horst is a bad junkie. You know me—” philosophical shrug—“I don’t judge or condemn. Do what you like, I don’t care! But Horst—very sad case. He fell in love with this girl who was on it and she got him on it to o. Took him for everything, and when the money ran out, she left. Horst’s family—they have disowned him many years ago. And still he eats his heart out for this awful rotten girl. Girl, I say—she must be nearly forty. Ulrika her name is. Every time Horst gets a little money—she comes back for a while. Then she leaves him again.”

“What does he have to do with it?”

“Horst’s associate Sascha set up things with this deal. I meet the guy—he seems okay—what do I know? Horst told me that he had never worked with Sascha’s man in person, but I was in a hurry and I didn’t go into it the way I should and—” he threw up his arms—“poof! Myriam was right—she is always right—I should have listened to her.”

Water streamed down the windows, quicksilver heavy, sealing us into the car, lights winking and melting around us in a roar that reminded me of when Boris and I used to ride in the back of the Lexus in Vegas when my dad went through the car wash.

“Horst is usually a bit fussy about who he does business with, so I thought it would be okay. But—he is very restrained, you know? ‘Unusual’ is what he said. ‘Unconventional.’ Well what is that supposed to mean? Then when I get down there—these people are crazy. I mean like shooting-guns-at-chickens crazy. And situations like this—you want it calm and quiet! It was like, have they seen too much TV or something? like, this is how to act—? normally in this type situation everyone is very very polite, hush-hush, very peaceful! Myriam said—and she was right—forget about the guns! What kind of crazy thing is this for these people to keep chickens in Miami? Even a little thing like that—this is Jacuzzi neighborhood, tennis courts, you understand me—who keeps chickens? You don’t want a neighbor phoning in complaint because of chicken noise in the yard! But by that time—” he shrugged—“there I was. I was in. I told myself not to worry so much, but turned out I was right.”

“What happened?”

“I don’t really know. I got half the goods I was promised—rest coming in a week. That’s not un-typical. But then they were arrested and I didn’t get the other half and I didn’t get the picture. Horst—well, Horst would like to find it too, he is out some big green as well. Anyway I am hoping he has a bit more information than when we spoke last.”

xvi.

GYURI LEFT US OUT in the Sixties, not far at all from the Barbours’. “This is the place?” I said, shaking the rain off Hobie’s umbrella. We were out in front of one of the big limestone townhouses off Fifth—black iron doors, massive lion’s-head knockers.

“Yes—it’s his father’s place—his other family are trying to get him out legally but good luck with that, hah.”

We were buzzed in, took a cage elevator up to the second floor. I could smell incense, weed, spaghetti sauce cooking. A lanky blonde woman—short-cropped hair and a serene small-eyed face like a camel’s—opened the door. She was dressed like a sort of old-fashioned street urchin or newsboy: houndstooth trousers, ankle boots, dirty thermal shirt, suspenders. Perched on the tip of her nose were a pair of wire-rimmed Ben Franklin glasses.

Without saying a word she opened the door to us and walked off, leaving us alone in a dim, grimy, ballroom-sized salon which was like a derelict version of some high-society set from a Fred Astaire movie: high ceilings; crumbling plaster; grand piano; darkened chandelier with half the crystals broken or gone; sweeping Hollywood staircase littered with cigarette butts. Sufi chants droned low in the background: Allāhu Allāhu Allāhu Haqq. Allāhu Allāhu Allāhu Haqq. Someone had drawn on the wall, in charcoal, a series of life-sized nudes ascending the stairs like frames in a film; and there was very little furniture apart from a ratty futon and some chairs and tables that looked scavenged from the street. Empty picture frames on the wall, a ram’s skull. On the television, an animated film flickered and sputtered with epileptic vim, windmilling geometrics intercut with letters and live-action racecar images. Apart from that, and the door where the blonde had disappeared, the only light came from a lamp which threw a sharp white circle on melted candles, computer cables, empty beer bottles and butane cans, oil pastels boxed and loose, many catalogues raisonnés, books in German and English including Nabokov’s Despair and Heidegger’s Being and Time with the cover torn off, sketch books, art books, ashtrays and burnt tinfoil, and a grubby-looking pillow where drowsed a gray tabby cat. Over the door, like a trophy from some Schwarzwald hunting lodge, a rack of antlers cast distorted shadows that spread and branched across the ceiling with a Nordic, wicked, fairy-tale feel.

Conversation in the next room. The windows were shrouded with tacked-up bedsheets just thin enough to let in a diffuse violet glow from the street. As I looked around, forms emerged from the dark and transformed with a dream strangeness: for one thing, the makeshift room divider—consisting of a carpet sagging tenement-style from the ceiling on fishing line—was on closer look a tapestry and a good one too, eighteenth century or older, the near twin of an Amiens I’d seen at auction with an estimate of forty thousand pounds. And not all the frames on the wall were empty. Some had paintings in them, and one of them—even in the poor light—looked like a Corot.

I was just about to step over for a look when a man who could have been anywhere between thirty and fifty appeared in the door: worn-looking, rangy, with straight sandy hair combed back from his face, in black punk jeans out at the knee and a grungy British commando sweater with an ill-fitting suit jacket over it.

“Hello,” he said to me, quiet British voice with a faint German bite, “you must be Potter,” and then, to Boris: “Glad you turned up. You two should stay and hang out. Candy and Niall are making dinner with Ulrika.”

Movement behind the tapestry, at my feet, that made me step back quickly: swaddled shapes on the floor, sleeping bags, a homeless smell.

“Thanks, we can’t stay,” said Boris, who had picked up the cat and was scratching it behind the ears. “Have some of that wine though, thanks.”

Without a word Horst passed his own glass over to Boris and then called into the next room in German. To me, he said: “You’re a dealer, right?” In the glow of the television his pale pinned gull’s eye shone hard and unblinking.

“Right,” I said uneasily; and then: “Uh, thanks.” Another woman—bob-haired and brunette, high black boots, skirt just short enough to show the black cat tattooed on one milky thigh—had appeared with a bottle and two glasses: one for Horst, one for me.

“Danke darling,” said Horst. To Boris he said: “You gentlemen want to do up?”

“Not right now,” said Boris, who had leaned forward to steal a kiss from the dark-haired woman as she was leaving. “Was wondering though. What do you hear from Sascha?”

“Sascha—” Horst sank down on the futon and lit a cigarette. With his ripped jeans and combat boots he was like a scuffed-up version of some below-the-title Hollywood character actor from the 1940s, some minor mitteleuropäischer known for playing tragic violinists and weary, cultivated refugees. “Ireland is where it seems to lead. Good news if you ask me.”

“That doesn’t sound right.”

“Nor to me, but I’ve talked to people and so far it checks out.” He spoke with all a junkie’s arrhythmic quiet, off-beat, but without the slur. “So—soon we should know more, I hope.”

“Friends of Niall’s?”

“No. Niall says he never heard of them. But it’s a start.”

The wine was bad: supermarket Syrah. Because I did not want to be anywhere near the bodies on the floor I drifted over to inspect a group of artists’ casts on a beat-up table: a male torso; a draped Venus leaning against a rock; a sandaled foot. In the poor light they looked like the ordinary plaster casts for sale at Pearl Paint—studio pieces for students to sketch from—but when I drew my finger across the top of the foot I felt the suppleness of marble, silky and grainless.

“Why would they go to Ireland with it?” Boris was saying restlessly. “What kind of collectors’ market? I thought everyone tries to get pieces out of there, not in.”

“Yes, but Sascha thinks he used the picture to clear a debt.”

“So the guy has ties there?”

“Evidently.”

“I find this difficult to believe.”

“What, about the ties?”

“No, about the debt. This guy—he looks like he was stealing hubcaps off the street six months ago. “

Horst shrugged, faintly: sleepy eyes, seamed forehead. “Who knows. Not sure that’s correct but certainly I’m not willing to trust to luck. Would I let my hand be cut off for it?” he said, lazily tapping an ash on the floor. “No.”

Boris frowned into his wine glass. “He was amateur. Believe me. If you saw him yourself you would know.”

“Yes but he likes to gamble, Sascha says.”

“You don’t think Sascha maybe knows more?”

“I think not.” There was a remoteness in his manner, as if he was talking half to himself. “ ‘Wait and see.’ This is what I hear. An unsatisfactory answer. Stinking from the top if you ask me. But as I say, we are not to the bottom of this yet.”

“And when does Sascha get back to the city?” The half-light in the room sent me straight back to childhood, Vegas, like the obscure mood of a dream lingering after sleep: haze of cigarette smoke, dirty clothes on the floor, Boris’s face white then blue in the flicker of the screen.

“Next week. I’ll give you a ring. You can talk to him yourself then.”

“Yes. But I think we should talk to him together.”

“Yes. I think so too. We’ll both be smarter, in future… this need not have happened… but in any case,” said Horst, who was scratching his neck slowly, absent-mindedly, “you understand I’m wary of pushing him too hard.”

“That is very convenient for Sascha.”

“You have suspicions. Tell me.”

“I think—” Boris cut his eyes at the doorway.

“Yes?”

“I think—” Boris lowered his voice—“you are being too easy on him. Yes yes—” putting up his hands—“I know. But—all very convenient for his guy to vanish, not a clue, he knows nothing!”

“Well, maybe,” Horst said. He seemed disconnected and partly elsewhere, like an adult in the room with small children. “This is pressing on me—on all of us. I want to get to the bottom of this as much as you. Though for all we know his guy was a cop.”

“No,” said Boris resolutely. “He was not. He was not. I know it.”

“Well—to be quite frank with you, I do not think so either, there is more to this than we yet know. Still, I’m hopeful.” He’d taken a wooden box from the drafting table and was poking around in it. “Sure you gentlemen wouldn’t like to get into a little something?”

I looked away. I would have liked nothing better. I would also have liked to see the Corot except I didn’t want to walk around the bodies on the floor to do it. Across the room, I’d noticed several other paintings propped on the wainscoting: a still life, a couple of small landscapes.

“Go look, if you want.” It was Horst. “The Lépine is fake. But the Claesz and the Berchem are for sale if you’re interested.”

Boris laughed and reached for one of Horst’s cigarettes. “He’s not in the market.”

“No?” said Horst genially. “I can give him a good price on the pair. The seller needs to get rid of them.”

I stepped in to look: still life, candle and half-empty wineglass. “Claesz-Heda?”

“No—Pieter. Although—” Horst put the box aside, then stood beside me and lifted the desk lamp on the cord, washing both paintings in a harsh, formal glare—“this bit—” traced mid-air with the curve of a finger—“the reflection of the flame here? and the edge of the table, the drapery? Could almost be Heda on a bad day.”

“Beautiful piece.”

“Yes. Beautiful of its type.” Up close he smelled unwashed and raunchy, with a strong, dusty import-shop odor like the inside of a Chinese box. “A bit prosaic to the modern taste. The classicizing manner. Much too staged. Still, the Berchem is very good.”

“Lot of fake Berchems out there,” I said neutrally.

“Yes—” the light from the upheld lamp on the landscape painting was bluish, eerie—“but this is lovely… Italy, 1655‥… the ochres beautiful, no? The Claesz not so good I think, very early, though the provenance is impeccable on both. Would be nice to keep them together… they have never been apart, these two. Father and son. Came down together in an old Dutch family, ended up in Austria after the war. Pieter Claesz…” Horst held the light higher. “Claesz was so uneven, honestly. Wonderful technique, wonderful surface, but something a bit off with this one, don’t you agree? The composition doesn’t hold together. Incoherent somehow. Also—” indicating with the flat of his thumb the too-bright shine coming off the canvas: overly varnished.

“I agree. And here—” tracing midair the ugly arc where an over-eager cleaning had scrubbed the paint down to the scumbling.

“Yes.” His answering look was amiable and drowsy. “Quite correct. Acetone. Whoever did that should be shot. And yet a mid-level painting like this, in poor condition—even an anonymous work—is worth more than a masterpiece, that’s the irony of it, worth more to me, anyway. Landscapes particularly. Very very easy to sell. Not too much attention from the authorities… difficult to recognize from a description… and still worth maybe a couple hundred thousand. Now, the Fabritius—” long, relaxed pause—“a different calibre altogether. The most remarkable work that’s ever passed through my hands, and I can say that without question.”

“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.”