The novel changes gear and, for a while, is primarily involved with showing us, affectingly, the dislocation of Theo's life — a dislocation both emotional and physical. If there's any one novel this strand of the story calls to mind, it's Great Expectations — there's even a character called Pippa, perhaps a playful melding of Pip and Estella. But there is a second strand to the novel, this one with echoes of Crime and Punishment. Picking up the painting from the debris and walking out of the museum with it isn't exactly theft, not if theft involves the conscious decision to steal.
So, too, does his fear of being imprisoned for stealing the object. It should come as no surprise, in a novel that opens with crime scene tapes and exploding museums, that the story of Theo and the painting is a story of betrayal, suspicion, double-dealing and shoot-outs. To say any more about the events of the novel would be to deprive a reader of the great joy of being swept up by the plot. The novel isn't, of course, all action and suspense.
Some of its most memorable moments occur in stillness. Now, transfigured — cold and glorious like deities with their disguises flung off — it was as if they'd flown through the roof and into the sky to assume their true, celestial homes. Tartt may already have displayed her great gift for plot in her debut, but the emotional register of The Goldfinch is of a different order from either of her previous works. It would be wrong, however, to think that all the emotions are centred around loss. Not for Tartt the kind of clever riffs, halfway between standup comedy and op-ed columns, which are too commonly found in contemporary fiction.
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And … all love. She was included in the list of the " Most Influential People " compiled by Time magazine in Tartt was born in Greenwood, Mississippi , in the Mississippi Delta, and raised in the nearby town of Grenada. She enrolled in the University of Mississippi in , and her writing caught the attention of Willie Morris when she was a freshman. Following a recommendation from Morris, Barry Hannah , then an Ole Miss writer in residence, admitted the eighteen-year-old Tartt into his graduate course on the short story.
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Following the suggestion of Morris and others, she transferred to Bennington College in , where she was friends with fellow students Bret Easton Ellis , Jill Eisenstadt , and Jonathan Lethem. At Bennington she studied classics with Claude Fredericks. In , Tartt was reportedly working on a retelling of the myth of Daedalus and Icarus for the Canongate Myth Series , a series of novellas in which ancient myths are reimagined and rewritten by contemporary authors.
Tartt is a convert to Catholicism and contributed an essay, "The spirit and writing in a secular world", to the book The Novel, Spirituality and Modern Culture. In her essay Tartt wrote that " She wrote that writers should "shy from asserting those convictions directly in their work".
Tartt has largely written in neo-romanticism -inflected prose that borrows heavily from the stylings of nineteenth-century literature. This prose style is uncommon in contemporary American literary fiction, particularly with the tendency of fiction writers and literary critics to favor a briefer, more to-the-point prose style.
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Her prose style stands in stark contrast to that of her former classmate Bret Easton Ellis, whose novel The Rules of Attraction incorporates a similar setting and has some overlap in character types and themes but is written in a curt, minimalist style. A number of recurring literary themes occur in Tartt's novels, including those related to social class and social stratification, guilt , and aesthetic beauty.
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