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VINE VOICEon 12 February 2014
I can't call this a review but it's more about the experience I had reading this book. It isn't a short, superficial read this book is quite long and complex and involves you at many levels. I read no other books whilst reading this and although I get through most books in a few days, it took me a week to read this as I had to absorb bits of it and take breaks to think about what I read. The emotions and feelings evoked as you embark on the journey Donna Tartt takes you on through the eyes of Theo Decker is a roller-coaster.

From the young Theo from the fist page of the first chapter through adolescence and to adulthood, Tartt binds you to her main protagonist and you become so involved you want to know what happens to Theo. However, there is no rushing the journey and somehow you realise you become to care about Theo and what happens to him.

There are long passages dealing with the history of art and antiquities which may not appeal to the interest of some readers but I think the underlying story is strong enough to hold your attention. After living with this book and the characters within for a week I can honestly say no book has drawn me in so deep this year.

If you are looking for an action packed high octane read then this probably won't be for you but if you are willing to be taken on a journey that has it's own pace then this book is one you need to read. Whether you love art or don't I think this book asks some eloquent questions about art and beauty without skimping on action and thrills.
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TOP 500 REVIEWERon 6 April 2014
There's no doubt that Donna Tartt is a good writer. She has a lovely way with words and expertly manages every scene, conjuring vivid and effective images. In fact, 50% of this book would make a five star novel. The problem is that it's diluted by the other 50%, which is irrelevant padding. Good, well written, padding - but padding nonetheless. It starts very strongly, with an initial chapter set in the 'present' of the story where the protagonist (Theo) is hiding out in Amsterdam in mysterious circumstances. Then it flashes back to the terrorist explosion that changed the course of Theo's life as a thirteen year old boy. The description of the explosion and the weeks following it is extremely strong, powerful writing and makes an excellent start.

But it then loses its way somewhat, with a very long interlude describing Theo's misspent youth in the Las Vegas desert. Again, it's well written in itself, but by the end I was beginning to wonder where the story was going. I vaguely knew it was building towards the interesting-sounding scenario in chapter 1, but it was so long I could barely remember what that had described. I felt rather lost, and the subsequent section - again well written - still didn't give much structure. It does get there in the end, and with plenty of flashes of brilliance along the way, but it just takes way too long.

I liked the character of Theo, he's an interesting but ultimately sympathetic character even though I didn't entirely like some of his behaviour. There were some other well drawn characters too, and the descriptive writing is very good. The underlying idea for the story - the core plot - is a reasonable idea but it just gets lost and bogged down in the rather futile machinations of Theo's love life and the endless descriptions of the drugs he takes and alcohol he drinks. There's nothing more dull and dispiriting than reading about the miserable existence of someone addicted to drugs and booze, and the after effects of them. We really don't need as much of it as there is in this book. One good powerful description would be enough, and we can then simply imagine it repeated over and over again across the years.

There's also too much philosophising and angsting. Some people might find the descriptions of art and furniture also overdone, although I actually found these interesting despite often not enjoying lengthy passages on things like that. It's such a shame, because Tartt proves on almost every page that what she actually writes is good - it's just someone needed to ruthlessly edit it down by about half. I must admit to feeling relieved when I finally got to the end, which I wouldn't normally with a book of this underlying quality.

If you enjoy literary writing and don't mind a slowish plot, you will almost certainly love this novel. If you don't have patience with lengthy diversions then you might have to give it a miss. There's no doubt it's a good novel, it's just a question of whether you can sit through all the waffling to uncover the gems that lie within. I'll still look forward to Tartt's next novel, but I just hope she can rein in the length and not let her plot get lost.
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on 26 August 2014
I can't remember a book I enjoyed more. I was quite bereft when I reached the end, as I realised that I would no longer be able to delve into the lives of Theo, Boris, Hobie and Pippa. Ms Tartt writes beautifully and although it may sound like a contradiction, as the novel is quite long - sparely. Every word is there for a reason. In short, I loved it. Have bought it for my mum and have recommended it to many others. Thanks Ms Tartt for a book I will remember for the rest of my life.
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on 24 October 2013
This is a tough book to review without gushing and without giving away too much of the story. I am going to gush, because in this instance I can't help it, but I'm going to try to avoid giving away too much of the story, because many of the great delights of The Goldfinch come from that rare experience of reading for pleasure: turning the pages to see what happens next, and losing yourself in this world of someone's creation. So try to know as little about this book as you can before you start to read it. The Goldfinch is a novel of many wonderful surprises, whether it's the introduction of both major or minor characters, or plot twists I really never expected, or unexpected shifts of scenery. (And whoa! One change in location in particular is a masterclass in dramatic handling, artfully rendered and most purposefully done.)

But gush isn't enough, so let me just say this: if you're a fan of Harry Potter or Pinocchio or The Wizard of Oz, if you've enjoyed Truman Capote, Jack Kerouac or J.D. Salinger, or Huckleberry Finn or Walt Whitman, if you've had fun with Breaking Bad or Six Feet Under, if you can imagine Dickensian epics retold for the era of global capital and sprinkled with a dose of Buddhist sentiment, if you love the old masters of Dutch painting, if you love dogs, if you love little birds, if you've loved either of Donna Tartt's other novels, if you live for great storytelling, if you think that art can change the world and that we can love unquestioningly (deep breath) ... if any of the above apply to you in any way, there is a good chance that you might like or even (like me) love this book and be totally wrapped in its embrace.

The ending of the book just soars. It moved me to tears.

The Goldfinch is epic, and it's ambitious. The many fantastic reviews are warranted. It takes risks, and they worked magically for me. Books as pleasurable as this are rare events. Yes, I'm gushing.
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on 14 August 2014
Coming a bit late to the party here, I read the novel aware of most of the views expressed, and the deep divisions between reviewers--the majority hailing it as a masterpiece, while a few dissenters slam it. Far be it from me to challenge the professionals, but I think the qualities and faults are pretty clear. No-one surely can deny the charm of Tartt's style, or her ability to set up an intriguing situation (the qualities which made 'The Secret History' so popular). But the problem with an intriguing set-up is that it tends to promise more than it can deliver-- I felt this even with 'The Secret History', which I loved. Here, the last 100 pages are a bit of a mess (maybe that's going slightly too far-- let's say complex and convoluted without enough depth to balance them). But in terms of a reader's pleasure there are whole stretches that are outstanding--for me, particularly the Las Vegas section. Since my taste is always for a novel that tries to do too much rather than too little, I can't help warming even to the excesses. Yes, editors could have taken the scissors to it--but I think they would have taken its heart away--its sense of the richness and complexity of
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on 29 August 2014
This book was a bit of a struggle to get through, compared to 'The Secret History' (which is wonderful), it was very slow and i hate to say it, boring, in places. The first few chapters are wonderful and gripped me straight away, and I couldn't wait to read on, but as the story went on, I became frustrated and started to dislike Theo. There are some parts of the book I think everyone should read, it is beautifully written, but i'm not sure i would recommend it as a 'must read'.
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on 28 September 2014
The hype and critical plaudits persuaded me to buy this book, yet here I am, 320 pages into this saga, and I am still reading about Theo and Boris 's endless vodka and vomit scenarios in a bleak and windswept corner of Las Vegas.
I am not only wondering where this unpleasant episode will take me, but also wondering how, after 300 + pages! we finally arrived here; believe me, the journey was far from interesting, the characters were easily forgettable, the plot meandering beyond belief, and I really, really cannot face a further 400 pages of meaningless and uninspiring drivel. My main concern is that I was " duped" into reading he reviews, "conned" into Radio 4's coverage of Ms Tartt's new novel, and sadly, I totally believed the critical acclaim quoted within the book. How can this be so gripping, so heart- stopping, so heart-rendering, so thrilling and touching, so masterful!!
I am a book addict. I am of mature years. I have read hundreds upon hundreds of books. I love reading. So how can this be such an awful novel, yet so highly acclaimed.
There have been many comparisons made between The Goldfinch and Great Expectations. Ignore the references. Please, please take my advice. The autumnal nights will soon be upon us. Buy a copy of " Great Expectations" and sit by an open fire with a comforting drink, and relish the devour the wonderful characters created for you by Mr Dickens. You will remember them all with great affection for years and years to come.
The characters offered to you by Ms Tartt will be forgotten before you turn a page and close the book and place it in a dark space at the very black of a library shelf.........never to be viewed again.
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on 13 April 2014
Rarely these days does one find a writer brave enough to confront so unflinchingly the desperateness of the human condition in the 21st century. But Donna Tartt is such a writer and it is this which raises her novel The Goldfinch to the highest level of art. The protagonist Theo Decker has been compared to Pip in Great Expectations but the reality is that this is a far darker tale than Dickens' novel.

Dickens shines a light on the bleakness and wickedness at the heart of 19th century British industrial society but in his novels there is always the conviction that good and right will triumph in the end. This was still a Christian world he was writing about after all and his Victorian audience expected a happy ending even if the reality did not quite live up to it.

But the amoral world Theo Decker inhabits following the death of his mother in a terrorist attack in New York, is a world of unrelieved bleakness where there are no certainties any more. Once on the road to corruption through drugs, deception, stealing and dishonesty there is no way back. Without a family to offer some sort of protection or relief, Theo has absolutely no hope in a society which is fundamentally corrupt at every level.

From the well observed social workers whose job is to process Theo through the care system, to the wealthy Barbour family with their coolly efficient lifestyle, concealing fundamental psychological flaws, Donna Tartt paints a picture of quiet desperation where there is no longer any possibility of finding anything that resembles home ever again. It's a picture of alienation and as such utterly convincing. Only with Hobie the antique restorer and Welty's niece Pippa does Theo find a temporary bolt hole where he can genuinely relax.

But the narrative takes on a darker aspect altogether when Theo's unreliable alcoholic father turns up finally with his new girlfriend Xandra and they move to the outskirts of Las Vegas to a life of gambling, baccarat, drinking and cocaine. It's here that Theo meets Boris, a dissolute but entertaining Ukrainian with a similarly unreliable and violent father, who has lived in Australia. Together they dabble in everything, Vodka, beer, drunken swimming, shoplifting, drugs and sex.

There is a point in this novel when you think, so.. is this simply a rites of passage novel, the move from childhood to adulthood by way of drugs and alienation? Is Theo finally bound to settle for the inevitable dull mediocre future of adult life with its nine to five cycle, chained to the capitalist machine for a lifetime? I mean, what else can there be now? What can there be after you've done everything else, except to end up as a carbon copy of your hopeless father?

But here's the surprise. No. No. That's not it. It's worse. So bad in fact that ultimately there seems to be no way back. Even Theo sees this in the end.

But then just to confound the reader even more, there's a twist. Just when you believe things can't possibly get any worse, the enigma of The Goldfinch,the painting by Fabritius which Theo stole from the museum, works its own magic. The paradox is that hope springs out of paradox. This is the nature of art and love and all greatness.

Donna Tartt writes with the cool eye of the observer standing just far enough away to see clearly. But I defy you not to be moved by The Goldfinch and its finally hopeful message.
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on 25 March 2015
I bought this book because of the rave reviews. Just like all the reviewers quoted on the cover, I read a book about a boy and a painting called the Goldfinch. But it was very clever to give the reviewers a different book to the one I read, for that is where the similarity ended. Mostly boring, occasionally nearly interesting, but never Superb, Dazzling or a Triumph. I kept reading in the hope that I would eventually get to the 'point', but sad to say I reached the end on page 864 without ever find out what the 'point' was. Like other reviewers, I found some of he characterisations laboured and inconsistent. But at least I now know never again to read a prizewinning novel. They may be great for literature academics to flex their analytical skills, but I am not an academic and read for pleasure. There was none to be found here. Or maybe I'm just a Philistine.
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on 23 November 2014
I've been meaning to read The Goldfinch for some time, mostly because I am intrigued by it's central character being a painting rather than a person... Having just read the last page I am not entirely sure what to say. It is unlike any book I've read. The writing style is exhilarating, if at times a little overwhelming. Can Donna Tartt really know so much about so wide a range of subjects? She either has a glittering talent for research or a kaleidoscopic breadth of life experience. Her capacity to capture and convey just a few vital details and thus to evoke a whole area of culture is mind-boggling: a powerful parallel to the process she herself describes here, where a great artist, with a few brushstrokes can create a vibrant new reality. She names this process as a kind of huge joke, the artist telling us that what we are seeing is at one and the same time the object and not the object. There is an odd sense through 'The Goldfinch' that Tartt, too, is joking. So much of the story comes across both as real and authentic and as outrageously unlikely. we are tempted so often to disbelieve, only to be shown by sleight of hand that the unlikely was possible after all. 'The Goldfinch' is compelling and readable, with a cast of eccentric characters I feel privileged to have met. Tartt's confidence with language sets her apart as a significant writing talent, and there are moments of reflection on art and the nature of beauty that are exceptional.

The more complex aspect of the book is trying to decide what kind of book it is. In parts it reads as a thriller, in parts as a Dickensian comedy of errors, in parts as a tense romance. Its philosophical musings are worthy of Graham Greene but its central plot-line could be straight out of Breaking Bad or The Wire. It's no bad thing to mix genres and defy formulaic rules, but it will be frustrating to some readers. In the end most will fall back on the cadence of Donne Tartt's prose. If you like her style, as rich and fruity as a brandy-soaked Christmas cake, you'll be carried around the genre corners. If, on the other hand, you can live without paragraph-long descriptions that add little or nothing to the plot, you may just find yourself skipping a page or two.

GERARD KELLY, Author of The Boy Who Loved Rain
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