Patrick is an unusual protagonist because he explicitly feels he cannot be a protagonist. He revels in his role as a background figure—a part of the scenery—in the stories of his acquaintances. Clara, Alice, Ambrose, Nicholas, Caravaggio—Patrick considers them the true protagonists and himself merely the “prism that refract[s] their lives” (157). The novel has three viewpoint characters (Patrick, Nicholas, and Caravaggio), but Patrick is the primary viewpoint character, with five of the novel’s seven chapters narrated from his perspective. From childhood, he is uncomfortable expressing himself with language and prefers to listen and observe silently. Rather than actively participating in groups, he prefers watching from the sidelines—that is, until his suffering ultimately drives him to become a criminal. In banding together with Caravaggio, he finds a group in which he can truly be an active player.

Although Patrick struggles to find true community throughout the novel, he nonetheless craves human intimacy. He is susceptible. His love affairs with Clara and Alice both change him, move him, and ultimately drive him to points of utter despair. In bonding with Hana, Alice’s daughter, Patrick finally finds a partnership that does not overtake his character.