Theo of Golden

The chapter describes Golden’s 12-mile Riverwalk next to the Oxbow River, a recently built attraction that draws various people to the waterside. From his bench beneath a chestnut oak, Theo can view the river in both directions, and the scene reminds him of the Douro (“river of gold”) near his childhood home in Portugal.

The narrative shifts to a flashback from Theo’s childhood. In this earlier moment, a young Theo rides his bicycle through Portuguese streets filled with aromas of sardines and coffee to explore the banks of the Douro. One evening, walking alone along the river, Theo encounters a fisherman painting a sunset. The artist invites the boy to observe, explaining how quickly sunsets can change. In a pivotal moment, the fisherman scoops mud from the riverbank, applies it to the canvas, and invites Theo to do the same. The fisherman gives the completed painting to Theo. Though Theo never met the artist again, the painting remains framed in Theo’s New York apartment, proof that “fishermen paint sunsets and angels are real” (188).

From the nearby vantage point of his bookstore, Tony has often observed Theo’s meetings at the Fedder fountain. When he asks about these encounters, Theo explains his portrait bestowal project. Tony is touched but puzzled by Theo’s motivation. Later, Tony invites Theo over for brandy. As they drink together, Tony reveals that the brandy was a gift from a fellow Vietnam veteran.

Tony then relates a traumatic incident from the Vietnam War. During an evacuation operation, he had befriended a local child and had given the boy his good luck charm: a golf ball. The following day, amidst chaos and violence, Tony saw the same boy running toward him. Mistaking him for an attacker, Tony shot him, only to see the golf ball roll from the child’s hand. After Tony shares this memory, they shift to lighter topics, but the war’s presence remains palpable. As they part, Theo mentions discussing heaven next time, and Tony remarks that such a conversation would necessitate talking about hell, too. Theo observes that Tony has already experienced hell and seems less convinced about the possibility of heaven.

By the time Kendrick’s daughter Lamisha is released from Crossway Medical Center, Theo has become a regular visitor. He then makes weekly visits to the family’s residence, taking bus number 37 to their modest home in a blighted part of the city. Though the home is externally neglected, the interior is meticulously maintained by Grandmother Whitaker.

Each week, Theo brings children’s books from the Verbivore and dramatically performs the stories. He uses these opportunities to improve her reading skills while teaching her about storytelling and language. For Theo, these moments evoke memories of reading with his own daughter, Tita.

On one visit, Theo brings a handmade storybook about a girl with blue shoes that make her different from her red-shoed classmates: a reference to Lamisha’s situation with her leg brace. Throughout his year in Golden, Theo continues these visits, ensuring that Lamisha receives excellent medical care. Eventually, Kendrick begins reading with Lamisha too, sometimes asking for her help with difficult words.

The narrative shifts to a flashback of Theo’s earlier life. In 1942, 10-year-old Theo works in Portugal’s grape harvest. In October, Theo travels with his family to Lisbon and is awestruck by the National Museum of Ancient Art. As he moves slowly through the galleries, his family allows him time to absorb everything, and a string quartet playing Bach moves the young Theo to tears.

This experience divides Theo’s life into “before-Lisbon” and “after-Lisbon.” Though his rural home lacks cultural amenities to nurture his new passion, Theo grows up to become a patron of symphony orchestras, developing a deep appreciation for the creation of music.

The narrative shifts to the present and describes Simone, a graduate cello student who walks to class with his instrument strapped to his back. Of mixed Samoan and Congolese heritage, he stops at the Chalice for his breve latte before his lesson with Professor Gobelli. Simone chose the University of Golden specifically to study with the renowned Gobelli. One day, Simone strikes up a friendship with Tony the bookseller.

Despite Theo’s efforts to keep his portrait bestowals secret, word gradually spreads. The portraits end up in various places—homes, a high school trophy case, or overseas. One is placed in a casket, while another is sent to a death row inmate. Most recipients believe themselves to be Theo’s sole beneficiaries and are unaware that they are part of a larger endeavor.

When newspaper reporter Katherine Lesker contacts Theo about writing a story, he meets her at the Fedder fountain. Rather than declining outright, he shares minimal details of his project and asks her not to write about it, stressing the importance of engaging in anonymous gestures of kindness. He believes that public attention would diminish the gifts.

Theo then surprises Katherine by presenting her with her own portrait. Katherine is deeply moved and shares her painful childhood story of growing up poor after her father abandoned the family. Theo suggests that they “trade”—he will take her old self-image, and she can take home the new portrait. They act out this exchange symbolically, with Katherine pretending to remove the negative image from her temple and place it in Theo’s palm. Before they part, Theo promises an exclusive future interview, and Katherine agrees to keep his secret.

As Theo establishes acquaintances along the Promenade, his daily walks become punctuated by spontaneous conversations. Although he prefers deeper discussions to small talk, he adapts well and shows genuine interest in people’s thoughts. During an encounter at the Chalice, Theo tells Asher that he sees subtle sadness in every portrait face, a factor that makes the portraits believable even when subjects are smiling.

Surprised by this observation, Asher says that he doesn’t intentionally include sadness. Theo explains that recognizing sadness is a gift that comes with age, and that sadness and joy can coexist compatibly. He clarifies that the portraits do not simply depict sadness; instead, they capture the full spectrum of human experience, all in “elegant proportion.”

When Asher points to a smiling child’s portrait as a potential exception, Theo says, “OK. That one: no sadness. But draw him again in thirty years” (225). Before Asher leaves, the two men agree to continue their discussion at his studio the following week.

Theo and Mr. Ponder’s professional relationship evolves into genuine friendship, and Theo values having a near-contemporary with whom he can speak freely about his past. Mr. Ponder considers Theo a superior and a mentor, eagerly accommodating his spontaneous visits. As their friendship deepens, Mrs. Gidley notices positive changes in Mr. Ponder’s. He frequently leaves articles for Theo or asks Mrs. Gidley to remind him about concerts or other events. Mrs. Gidley herself develops a genuine enthusiasm about being part of Theo’s “cabal of generosity” (228).

After years of feeling the “slow contraction of a soul” (229) devoted entirely to business, she welcomes Theo’s creative approach to generosity. The portrait bestowals, medical treatments for Lamisha, and charitable purchases bring adventure to her routine work. Though she knows very little about his past and still harbors some suspicions, she accepts that he will remain somewhat mysterious. Unwittingly, both Mr. Ponder and Mrs. Gidley have become apprentices in “the world according to Theo” (229).

Mrs. Gidley suggests that Theo purchase all the portraits at once and hold a public presentation, but he explains that “the giving is part of the gift” (230). When Theo arrives at the fountain for his meeting with the latest portrait subject, Clarise, she doesn’t appear. Instead, her boyfriend Cleave approaches angrily and accuses Theo of being a “predator.” Before Theo can explain, Derrick Prentiss (Minnette’s husband) intervenes. When Theo offers the wrapped portrait as a peace offering, Cleave throws it down and stomps on it. Horrified, Theo erupts in uncharacteristic anger, shouting at Cleave in multiple languages until Derrick physically restrains him.

After Cleave leaves, Theo recovers his composure but remains shaken. Derrick introduces himself properly, explaining he had observed Theo’s meeting with Minnette weeks earlier, and warns him that some people might misunderstand his kindness. Walking home with the damaged portrait, Theo briefly questions whether to continue the bestowals but quickly dismisses his doubts. Later, examining the ruined artwork, which now features a boot print on Clarise’s face, he places it reverently in a drawer and concludes, “I have now met a Southerner whom I do not like” (235).

Simone practices late one night in the music school, struggling with a challenging section. To rebuild confidence, he plays “Summertime” from memory, and as the last note fades, he hears someone singing along and discovers Kendrick Whitaker, a custodian cleaning the classrooms. The two men meet awkwardly. Simone compliments Kendrick’s singing, and they discuss music.

An hour later, as Simone leaves, he finds Kendrick outside checking on his daughter via a camera app. Kendrick explains that Lamisha is back in the hospital for surgery. As they look at the feed together, they see Theo sitting by Lamisha’s bedside. Surprised, Simone asks how Kendrick knows Theo. Kendrick explains their connection through the portrait bestowal and describes Theo’s regular visits with Lamisha. Kendrick’s grandmother believes that Theo is “an angel.”

Theo consistently conducts his portrait bestowals at the same bench on the south side of the Fedder fountain, arriving early and placing items on either side to discourage others from sitting there. One summer day, while he is meeting with a woman named Lena, a self-important businessman sits beside them, loudly arguing on his phone about someone who is postponing their career for parenthood.

Theo attempts to signal the man by clearing his throat, but when this fails, he slides closer and begins humming, gradually increasing his volume and adding lyrics. The businessman initially ignores this, raising his voice to continue his argument about “Gammy” and business sense. At the mention of “Gammy,” Theo pauses briefly before singing even louder.

The man finally acknowledges Theo and threatens to call the police. Undeterred, Theo continues singing the Portuguese national anthem. Exasperated, the businessman finally leaves. Theo and Lena share a laugh, and Theo places his hat on the newly vacated space before returning to their conversation.

Ellen fulfills her promise to take Theo bicycling along the Riverwalk. Meeting early one summer morning at RiverRides Bike Shop, she presents him with a water bottle and a homemade “STUDENT DRIVER” sign. Both experience pure joy and youthful energy as they pedal along the riverside trail. They stop at a bluff overlooking the river, where Ellen reveals she once lived in a tent by the river when she first came to Golden, having hitchhiked from Athens.

Ellen then reveals the true purpose of their outing: a “bird excursion” as thanks for his portrait gift. She guides Theo to several hidden bird nests. After the excursion, Ellen presents Theo with “featherwood”—a piece of wood with holes containing collected feathers. Among them is a rare blue jay feather and a suspiciously green feather that Ellen attributes to a “hatbird”—which Theo realizes must be from a hat at the Mission. Appreciating Ellen’s artistic talent, Theo returns to Ponder House with his gift.

During a night of insomnia in late September, Theo walks to the Riverwalk. Lost in contemplation, he is startled when a figure approaches from the shadows. Fearing for his safety, Theo is relieved to discover that it is Kendrick, who expresses concern about him walking alone so late at night.

Kendrick explains that he came to think about his court appearance later that day to deal with the aftermath of his daughter’s accident. He describes how the defendant, Mateo Mendez, broke down crying upon seeing the wounded Lamisha. Through a translator, Mendez explained that he had been living in the United States for 14 years before being deported. He returned illegally to help care for his eight-year-old daughter, who has cancer and needs American medical treatment. He drove while exhausted from his journey, fell asleep, and caused the accident.

The prosecutor, Derrick Prentiss, has asked for Kendrick’s input on sentencing. Mendez faces felony charges and possible deportation, and he has never seen his sick daughter since the accident. Kendrick feels torn, seeing both himself and Mendez as fathers who love their daughters. When he asks what Theo thinks, Theo advises him to “tell him what you think is right” and “be as kind as you can” (263). Before returning to work, Kendrick insists on walking Theo home for the sake of safety.

The next morning, Kendrick visits Derrick Prentiss’s office to share his thoughts on Mateo Mendez’s sentencing. Reflecting on both his daughter’s suffering and Mendez’s frightened face, he has reconsidered his position. His grandmother had advised him to “always go the mercy way” because “bad mercy don’t hurt nearly like bad justice” (265). Kendrick explains that he believes the accident was unintentional and that Mendez has “already paid a high price” (266). Derrick calls this view “generous,” saying he’s not sure he could see it that way himself.

Before leaving, Kendrick reveals that Derrick had prosecuted him 18 months earlier for something he didn’t do, but Derrick had never once looked at his face then. Kendrick had pleaded guilty despite his innocence because he was too poor to hire a good lawyer. He explains that he changed his mind about Mendez when he truly saw the man as a person rather than just “the ‘thing’ that hurt [his] little girl” (268). He credits Theo for teaching him a stronger form of empathy Looking directly at Derrick now, Kendrick says he believes there is “goodness” in him. Derrick apologizes for his behavior in the past. The two men shake hands and make eye contact before Kendrick takes the bus home.