The Butterfly Effect In Donna Tartt's The Goldfinch

The Butterfly Effect Sometimes, in life, a small, seemingly insignificant event can have an effect that lasts a lifetime. A small change amongst a large, intricate system can have large effects in unforeseen areas. In The Goldfinch by Donna Tartt, this idea, called the butterfly effect, is demonstrated through a character who only appears once in the beginning of the book, but whose influence is felt long after he is present. By talking to Welton Blackwell in the art museum after a terrorist bomb went off, the protagonist, Theodore “Theo” Decker gets Blackwell’s ring and steals Carel Fabritius’ famous painting, The Goldfinch per his request; these two items lead to Theo to meet someone who plays a key role in his life, gives him a reminder

Hobart gives him a sense of happiness, beginning to lift him from the depression he had sunk into after his mother’s death. He has stopped eating, becoming apathetic to his own well-being, resulting in him losing a considerable amount of weight. However, after meeting Hobart, Theo’s mental state begins to improve, manifesting itself in his eating habits. He mentions that “everyone noticed that my appetite had improved” (Tartt 232). Theo had been in such a funk immediately following the attack that basic needs to sustain himself began to get neglected. He needed a positive presence in his life to help him and ended up finding what he needed in Hobart; if Blackwell had never given him the ring, Theo’s depression and nonchalance for life could have worsened or stayed stagnant. In addition, Theo feels like he does not belong in the Barbours’ home, where he is staying after the museum; Mrs. Barbour is a well put together aristocrat, always arranging high class gatherings and parties in her home, she is distanced and cold and Theo does not feel completely at home with the family. Hobart, on the other hand, tends to treat Theo as a “companion and conversationalist” and regularly tells Theo “stories of his own life” (Tartt 272). Hobart’s store quickly turns into a safe haven for Theo, a place he can seek out if he needs to

A young boy holds custody over a 1654 priceless Carel Fabritius painting, one that is presumed to be burned or stolen; many art fanatics and experts are desperate for the painting to be returned before it has the potential to be ruined in unsatisfactory conditions. However, to Theo, the painting serves as a final connection to his mother, who thought the picture of the small bird was “the most extraordinary picture in the whole world,” (Tartt 43). Theo’s last memories of his mother feature the painting and travelling to the art museum with her and result in a very protective nature over it. He cherishes it immensely and is constantly reminded of his mother whenever he chooses to look at it. Originally, he plans on turning it into authorities, but holds on to it for long enough that he began to look like a criminal and develops a deep connection to it. In a moment of reflection, years later, he concedes that “We can’t choose what we want and don’t want and that’s the hard lonely truth. Sometimes we want what we want even if we know it’s going to kill us” (Tartt 1236). After years, Theo knows he should find a way to give up the painting, preferably without ending up in jail, but has grown too attached and fond of