This review is really, really spot-on. In particular:
I’m no more privy to what went on behind the scenes in The Goldfinch’s journey from draft to publication than I am aware of the ins and outs of similar processes for Jeffrey Eugenides’ The Marriage Plot or Michael Chabon’s Telegraph Avenue. But I know that all three of these novels (and there are many other examples) read as though their editor had been afraid to touch them, and had left early, baggy drafts unchanged.
Telegraph Avenue is one of the few books I’ve simply given up on, which was really sad at the time given how much I’d loved Chabon’s other work.