The Goldfinch (50 page)

I hated how much I missed him. There was a lot of drinking going on at my house, on Xandra’s end anyway, a lot of slammed doors (“Well, if it wasn’t me, it
had
to be you,” I heard her yelling); and without Boris there (they were both more constrained with Boris in the house) it was harder. Part of the problem was that Xandra’s hours at the bar had changed—schedules at her work had been moved; she was under a lot of stress, people she’d worked with were gone, or on different shifts; on Wednesdays and Mondays when I got up for school, I often found her just in from work, sitting alone in front of her favorite morning show too wired to sleep and swigging Pepto-Bismol straight from the bottle.

“Big old exhausted me,” she said, with an attempt at a smile, when she saw me on the stairs.

“You should go for a swim. That’ll make you sleepy.”

“No thanks, I think I’ll just hang out here with my Pepto. What a product. This is definitely some bubble-gum flavored awesomeness.”

As for my dad: he was spending a lot more time at home—hanging out with me, which I enjoyed, though his mood swings wore me out. It was football season; he had a bounce in his step. After checking his BlackBerry he high-fived me and danced around the living room: “Am I a genius or what? What?” He consulted spread breakdowns, matchup reports, and—occasionally—a paperbacked book called
Scorpio: Your Sports Year in Forecast.
“Always looking for an edge,” he said, when I found him running down the tables and punching out numbers on the calculator like he was figuring out his income tax. “You only have to hit fifty-three, fifty-four percent to grind out a good living on this stuff—see, baccarat is strictly for entertainment, there’s no skill to it, I set myself limits and never go over, but you can really make money at the sports book if you’re disciplined about it. You have to approach it like an investor. Not like a fan, not even like a gambler because the secret is, the better team usually wins the game and the linemaker is good at setting the number. Your linemaker has got limitations, though, as to public opinion. What he’s predicting is not who’s going
to win but who the general public thinks is going to win. So that margin, between sentimental favorite and actual fact—
fuck,
see that receiver in the end zone, another big one for Pittsburgh right there, we need them to score now like we need a hole in the head—anyway, like I was saying, if I really sit down and do my homework as opposed to Joe Beefburger who picks his team by looking five minutes at the sports page? Who’s got the advantage? See, I’m not one of these saps that gets all starry-eyed about the Giants rain or shine—shit, your mother could have told you that. Scorpio is about control—that’s me. I’m competitive. Want to win at any price. That’s where my acting came from, back when I acted. Sun in Scorpio, Leo rising. All in my chart. Now you’re a Cancer, hermit crab, all secretive and up in your shell, completely different MO. It’s not bad, it’s not good, it’s just how it is. Anyway, whatever, I always take my lead from my defensive-offensive lines, but all the same it never hurts to pay attention to these transits and solar-arc progressions on game day—”

“Did Xandra get you interested in all this?”

“Xandra? Half the sports book in Vegas has an astrologer on speed dial. Anyway, like I was saying, all other things equal, do the planets make a difference? Yes. I would definitely have to say yes. It’s like, is a player having a good day, is he having a bad day, is he out of sorts, whatever. Honestly it helps to have that edge when you’re getting a little, how do I put it, ha ha,
stretched,
although—” he showed me the fat wad of what looked like hundreds, wrapped with a rubber band—“this has been a really amazing year for me. Fifty-three percent, a thousand plays a year. That’s the magic spot.”

Sundays were what he called major-ticket days. When I got up, I found him downstairs in a crackle of strewn newspapers, zinging around bright and restless like it was Christmas morning, opening and shutting cabinets, talking to the sports ticker on his BlackBerry and crunching on corn chips straight from the bag. If I came down and watched with him for even a little while when the big games were on sometimes he’d give me what he called “a piece—” twenty bucks, fifty, if he won. “To get you interested,” he explained, leaning forward on the sofa, rubbing his hands anxiously. “See—what we need is for the Colts to get wiped off the map during this first half of the game. Devastated. And with the Cowboys and the Niners we need the score to go over thirty in the second half—yes!” he shouted, jumping up exhilarated with raised fist. “Fumble! Redskins got the ball. We’re in business!”

But it was confusing, because it was the Cowboys who had fumbled.
I’d thought the Cowboys were supposed to win by at least fifteen. His mid-game switches in loyalty were too abrupt for me to follow and I often embarrassed myself by cheering for the wrong team; yet as we surged randomly between games, between spreads, I enjoyed his delirium and the daylong binge of greasy food, accepted the twenties and fifties he tossed at me as if they’d fallen from the sky. Other times—cresting and then tanking on some hoarse wave of enthusiasm—a vague unease took hold of him which as far as I could tell had nothing very much to do with how his games were going and he paced back and forth for no reason I could discern, hands folded atop his head, staring at the set with the air of a man unhinged by business failure: talking to the coaches, the players, asking what the hell was wrong with them, what the hell was happening. Sometimes he followed me into the kitchen, with an oddly supplicant demeanor. “I’m getting killed in there,” he said, humorously, leaning on the counter, his bearing comical, something in his hunched posture suggesting a bank robber doubled over from a gunshot wound.

Lines x. Lines y. Yards run, cover the spread. On game day, until five o’clock or so, the white desert light held off the essential Sunday gloom—autumn sinking into winter, loneliness of October dusk with school the next day—but there was always a long still moment toward the end of those football afternoons where the mood of the crowd turned and everything grew desolate and uncertain, onscreen and off, the sheet-metal glare off the patio glass fading to gold and then gray, long shadows and night falling into desert stillness, a sadness I couldn’t shake off, a sense of silent people filing toward the stadium exits and cold rain falling in college towns back east.

The panic that overtook me then was hard to explain. Those game days broke up with a swiftness, a sense of losing blood almost, that reminded me of watching the apartment in New York being boxed up and carted away: groundlessness and flux, nothing to hang on to. Upstairs, with the door of my room shut, I turned all the lights on, smoked weed if I had it, listened to music on my portable speakers—previously unlistened-to music like Shostakovich, and Erik Satie, that I’d put on my iPod for my mother and then never got around to taking off—and I looked at library books: art books, mostly, because they reminded me of her.

The Masterworks of Dutch Painting. Delft: The Golden Age. Drawings by Rembrandt, His Anonymous Pupils and Followers.
From looking on the
computer at school, I’d seen that there was a book about Carel Fabritius (a tiny book, only a hundred pages) but they didn’t have it at the school library and our computer time at school was so closely monitored that I was too paranoid to do any research on line—especially after a thoughtlessly clicked link (
Het Puttertje, The Goldfinch,
1654) had taken me to a scarily official-looking site called Missing Art Database that required me to sign in with my name and address. I’d been so freaked out at the unexpected sight of the words
Interpol
and
Missing
that I’d panicked and shut down the computer entirely, something we weren’t supposed to do. “What have you just done?” demanded Mr. Ostrow the librarian before I was able to get it back up again. He reached over my shoulder and began typing in the password.

“I—” In spite of myself, I was relieved that I hadn’t been looking at porn once he began surfing back through the history. I’d meant to buy myself a cheap laptop with the five hundred bucks my dad had given me for Christmas, but somehow that money had gotten away from me—Missing Art, I told myself; no reason to panic over that word
missing,
destroyed art was missing art, wasn’t it? Even though I hadn’t put down a name, it worried me that I’d tried to check out the database from my school’s IP address. For all I knew, the investigators who’d been to see me had kept track, and knew that I was in Vegas; the connection, though small, was real.

The painting was hidden, quite cleverly as I thought, in a clean cotton pillowcase duct-taped to the back of my headboard. I’d learned, from Hobie, how carefully old things had to be handled (sometimes he used white cotton gloves for particularly delicate objects) and I never touched it with my bare hands, only by the edges. I never took it out except when Dad and Xandra weren’t there and I knew they wouldn’t be back for a while—though even when I couldn’t see it I liked knowing it was there for the depth and solidity it gave things, the reinforcement to infrastructure, an invisible, bedrock rightness that reassured me just as it was reassuring to know that far away, whales swam untroubled in Baltic waters and monks in arcane time zones chanted ceaselessly for the salvation of the world.

Taking it out, handling it, looking at it, was nothing to be done lightly. Even in the act of reaching for it there was a sense of expansion, a waft and a lifting; and at some strange point, when I’d looked at it long enough, eyes dry from the refrigerated desert air, all space appeared to vanish between me and it so that when I looked up it was the painting and not me that was real.

1622–1654. Son of a schoolteacher. Fewer than a dozen works accurately attributed to him. According to van Bleyswijck, the city historian of Delft, Fabritius was in his studio painting the sexton of Delft’s Oude Kerk when, at half past ten in the morning, the explosion of the powder magazine took place. The body of the painter Fabritius had been pulled from the wreckage of his studio by neighboring burghers, “with great sorrow,” the books said, “and no little effort.” What held me fast in these brief library-book accounts was the element of chance: random disasters, mine and his, converging on the same unseen point,
the big bang
as my father called it, not with any kind of sarcasm or dismissiveness but instead a respectful acknowledgment for the powers of fortune that governed his own life. You could study the connections for years and never work it out—it was all about things coming together, things falling apart,
time warp,
my mother standing out in front of the museum when time flickered and the light went funny, uncertainties hovering on the edge of a vast brightness. The stray chance that might, or might not, change everything.

Upstairs, the tap water from the bathroom sink was too chlorinated to drink. Nights, a dry wind blew trash and beer cans down the street. Moisture and humidity, Hobie had told me, were the worst things in the world for antiques; on the tall-case clock he’d been repairing when I left, he’d showed me how the wood had been rotted out underneath from the damp (“someone sluicing stone floors with a bucket, you see how soft this wood is, how worn away?”)

Time warp:
a way of seeing things twice, or more than twice. Just as my dad’s rituals, his betting systems, all his oracles and magic were predicated on a field awareness of unseen patterns, so too the explosion in Delft was part of a complex of events that ricocheted into the present. The multiple outcomes could make you dizzy. “The money’s not important,” said my dad. “All money represents is the energy of the thing, you know? It’s how you track it. The flow of chance.” Steadily the goldfinch gazed at me, with shiny, changeless eyes. The wooden panel was tiny, “only slightly larger than an A-4 sheet of paper” as one of my art books had pointed out, although all that dates-and-dimensions stuff, the dead textbook info, was as irrelevant in its way as the sports-page stats when the Packers were up by two in the fourth quarter and a thin icy snow had begun to fall on the field. The painting, the magic and aliveness of it, was like that odd airy moment of the snow falling, greenish light and flakes whirling in the
cameras, where you no longer cared about the game, who won or lost, but just wanted to drink in that speechless windswept moment. When I looked at the painting I felt the same convergence on a single point: a flickering sun-struck instant that existed now and forever. Only occasionally did I notice the chain on the finch’s ankle, or think what a cruel life for a little living creature—fluttering briefly, forced always to land in the same hopeless place.

v.

T
HE GOOD THING
: I was pleased at how nice my dad was being. He’d been taking me out to dinners—nice dinners, at white-tablecloth restaurants, just the two of us—at least once a week. Sometimes he invited Boris to come, invitations Boris always jumped to accept—the lure of a good meal was powerful enough to override even the gravitational tug of Kotku—but strangely, I found myself enjoying it more when it was just my dad and me.