The Goldfinch

As a young adult, Theo is in the throes of chaos. While chaos has largely existed close to him, it now seems to fully be a part of him during his twenties. He has become a drug addict, albeit a high–functioning one, and “I had not been more than three days clean in a row over three years” (473). In this way, he is not fully autonomous. Instead, he is at the mercy of substances, which he uses to mask his feelings of loss and his secrecy. Theo has also embraced a chaotic, illegal lifestyle in his dealings at Hobart and Blackwell by selling fake pieces as originals. He notes that “I knew how to draw people’s attention to the extraordinary points of a piece […] in order to lead the eye away from the reworked bits in the back” (454). Here, he thwarts the order of “the real,” making people believes that fakes are the true item. In this way, it is as if he is toying with the order of the universe, trying to blur the line between what is real and what is not. He questions the nature of truth, what it means to be genuine, and he largely gets away with it. 

At the same time, Theo is still drawn to feelings of order. To end some of the chaos inside himself, he attempts to get clean and remains so for several months. He also decides to try to quell his feelings for Pippa, which are overwhelming, chaotic, and unrequited. He notes that“[i]t had been a conscious decision to pull free” (509). In this way, Theo makes choices in order to shape his future. To further this choice, he builds a relationship with Kitsey, who is much more stable and predictable than Pippa. Of this relationship, Theo notes, “I’d never been so sure of the future” (513). This relationship is fractured, however, since Kitsey is cheating on Theo with Tom Cable. However, Theo remains with Kitsey because she represents a type of order.

In conjunction with the theme of order and chaos, these chapters also delve into the theme of art. The Goldfinch painting effectively changes form in these chapters. Previously, Theo considered the painting a locus of stability, representing beauty, comfort, and order. However, when Boris reveals that that painting as Theo knows it is a textbook in wrapping, Theo’s world is undone. While the concept of art has kept Theo afloat, he learns that the actual art object is missing, and “ever since the painting had vanished from under me I’d felt drowned and extinguished by vastness” (603). Here, the author questions the notion of what it means to be real or genuine. The feelings Theo experiences regarding the painting are real, yet the underlying signifier is not what he thinks it to be. This suggests a certain mutability in the distinction between real and false.

Furthermore, color remains a prominent motif in these chapters. Specifically, the color blue stands out. It acts as a warning signal that something is not right. Theo uses the color blue to describe Kitsey, first noting her “Chanel No. 19, baby blue dress” (510). He later notices “those sparkling blue shallows—so enticing at first glance—had not yet graded off into depths” (515). In this way, Kitsey’s metaphorically pale-blue nature contrasts with and pales in comparison to Pippa’s redness. Though Theo cares for Kitsey, she does not offer the same intensity as does Pippa. Blue also represents threat, as Lucius Reeve sends Theo “blue bordered correspondence cards” (517). Here, the color symbolizes Theo’s secrets coming to the surface and their larger implications. Finally, Boris reveals a blue star of David tattoo on his arm. He got the tattoo to help convince Bobo Silver to hire him, even though Boris is not Jewish. Here, the color blue represents deceit and machinations.