The Goldfinch

“I don’t need this,” I said, looking at the sleek little phone with an anime still of Virtual Girl Aki (naked, in porny thigh-high boots) on the lock screen.

“Well, you might. Never know. Go ahead,” he said, when I hesitated. “Take it.”

xii.

AND SO IT WAS that around half past eleven, I found myself riding down to the Village on the Fifth Avenue bus with the street address of Hobart and Blackwell in my pocket, written on a page from one of the monogrammed notepads Mrs. Barbour kept by the telephone.

Once I got off the bus at Washington Square, I wandered for about forty-five minutes looking for the address. The Village, with its erratic layout (triangular blocks, dead-end streets angling this way and that) was an easy place to get lost, and I had to stop and ask directions three times: in a news shop full of bongs and gay porn magazines, in a crowded bakery blasting opera, and of a girl in white undershirt and overalls who was outside washing the windows of a bookstore with a squeegee and bucket.

When finally I found West Tenth—which was deserted—I walked along, counting the numbers. I was on a slightly shabby part of the street that was mainly residential. A group of pigeons strutted ahead of me on the wet sidewalk, three abreast, like small officious pedestrians. Many of the numbers weren’t clearly posted, and just as I was wondering if I’d missed it and ought to double back, I suddenly found myself looking at the words Hobart and Blackwell painted in a neat, old-fashioned arch upon the window of a shop. Through the dusty windows I saw Staffordshire dogs and majolica cats, dusty crystal, tarnished silver, antique chairs and settees upholstered in sallow old brocade, an elaborate faience birdcage, miniature marble obelisks atop a marble-topped pedestal table and a pair of alabaster cockatoos. It was just the kind of shop my mother would have liked—packed tightly, a bit dilapidated, with stacks of old books on the floor. But the gates were pulled down and the place was closed.

Most of the stores didn’t open until noon, or one. To kill some time I walked over to Greenwich Street, to the Elephant and Castle, a restaurant where my mother and I ate sometimes when we were downtown. But the instant I stepped in, I realized my mistake. The mismatched china elephants, even the ponytailed waitress in a black T-shirt who approached me, smiling: it was too overwhelming, I could see the corner table where my mother and I had eaten lunch the last time we were there, I had to mumble an excuse and back out the door.

I stood on the sidewalk, heart pounding. Pigeons flew low in the sooty sky. Greenwich Avenue was almost empty: a bleary male couple who looked like they’d been up fighting all night; a rumple-haired woman in a too-big turtleneck sweater, walking a dachshund toward Sixth Avenue. It was a little weird being in the Village on my own because it wasn’t a place where you saw many kids on the street on a weekend morning; it felt adult, sophisticated, slightly alcoholic. Everybody looked hung over or as if they had just rolled out of bed.

Because nothing much was open, because I felt a bit lost and I didn’t know what else to do, I began to wander back over in the direction of Hobart and Blackwell. To me, coming from uptown, everything in the Village looked so little and old, with ivy and vines growing on the buildings, herbs and tomato plants in barrels on the street. Even the bars had handpainted signs like rural taverns: horses and tomcats, roosters and geese and pigs. But the intimacy, the smallness, also made me feel shut out; and I found myself hurrying past the inviting little doorways with my head down, very aware of all the convivial Sunday-morning lives unrolling around me in private.

The gates on Hobart and Blackwell were still down. I had the feeling that the shop hadn’t been open in a while; it was too cold, too dark; there was no sense of vitality or interior life like the other places on the street.

I was looking in the window and trying to think what I should do next when suddenly I saw motion, a large shape gliding at the rear of the shop. I stopped, transfixed. It moved lightly, as ghosts are said to move, without looking to either side, passing quickly before a doorway into darkness.

Then it was gone. With my hand to my forehead, I peered into the murky, crowded depths of the shop, and then knocked on the glass.

Hobart and Blackwell. Ring the green bell.

A bell? There wasn’t a bell; the entrance to the shop was enclosed by an iron gate. I walked to the next doorway—number 12, a modest apartment building—and then back to number 8, a brownstone. There was a stoop, going up to the first floor, but this time, I saw something I hadn’t seen before: a narrow doorwell, tucked halfway between number 8 and number 10, half-hidden by a rack of old-fashioned tin garbage cans. Four or five steps led down to an anonymous-looking door about three feet below the level of the sidewalk. There was no label, no sign—but what caught my eye was a flash of kelly green: a flag of green electrical tape, pasted beneath a button in the wall.

I went down the stairs; I rang the bell and rang it, wincing at the hysterical buzz (which made me want to run away) and taking deep breaths for courage. Then—so suddenly I started back—the door opened, and I found myself gazing up at a large and unexpected person.

He was six foot four or six five, at least: haggard, noble-jawed, heavy, something about him suggesting the antique photos of Irish poets and pugilists that hung in the midtown pub where my father liked to drink. His hair was mostly gray, and needed cutting, and his skin an unhealthy white, with such deep purple shadows around his eyes that it was almost as if his nose had been broken. Over his clothes, a rich paisley robe with satin lapels fell almost to his ankles and flowed massively around him, like something a leading man might wear in a 1930s movie: worn, but still impressive.

I was so surprised that all my words left me. There was nothing impatient in his ma

“Excuse me—” I swallowed; my throat was dry. “I don’t want to bother you—”

He blinked, mildly, in the silence that followed, as if of course he understood this perfectly, would never dream of suggesting such a thing.

I fumbled in my pocket; I held out the ring to him, on my open palm. The man’s large, pallid face went slack. He looked at the ring, and then at me.

“Where did you get this?” he said.

“He gave it to me,” I said. “He told me to bring it here.”

He stood and looked at me, hard. For a moment, I thought he was going to tell me he didn’t know what I was talking about. Then, without a word, he stepped back and opened the door.

“I’m Hobie,” he said, when I hesitated. “Come in.”

Chapter 4.

Morphine Lollipop

i.

A WILDERNESS OF GILT, gleaming in the slant from the dust-furred windows: gilded cupids, gilded commodes and torchieres, and—undercutting the old-wood smell—the reek of turpentine, oil paint, and varnish. I followed him through the workshop along a path swept in the sawdust, past pegboard and tools, dismembered chairs and claw-foot tables sprawled with their legs in the air. Though a big man he was graceful, “a floater,” my mother would have called him, something effortless and gliding in the way he carried himself. With my eyes on the heels of his slippered feet, I followed him up some narrow stairs and into a dim room, richly carpeted, where black urns stood on pedestals and tasseled draperies were drawn against the sun.