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1 I was the shadow of the waxwing slainBy the false azure in the windowpane;I was the smudge of ashen fluff – and ILived on, flew on, in the reflected sky.And from the inside, too, I’d duplicateMyself, my lamp, an apple on a plate:Uncurtaining the night, I’d let dark glassHang all the furniture above the grass,And how delightful when a fall of snow10 Covered my glimpse of lawn and reached up soAs to make chair and bed exactly standUpon that snow, out in that crystal land!Retake the falling snow: each drifting flakeShapeless and slow, unsteady and opaque,A dull dark white against the day’s pale whiteAnd abstract larches in the neutral light.And then the gradual and dual blueAs night unites the viewer and the view,And in the morning, diamonds of frost20 Express amazement: Whose spurred feet have crossedFrom left to right the blank page of the road?Reading from left to right in winter’s code:A dot, an arrow pointing back; repeat:Dot, arrow pointing back… A pheasant’s feet!Torquated beauty, sublimated grouse,Finding your China right behind my house.Was he in Sherlock Holmes, the fellow whoseTracks pointed back when he reversed his shoes?All colors made me happy: even gray.30 My eyes were such that literally theyTook photographs. Whenever I’d permit,Or, with a silent shiver, order it,Whatever in my field of vision dwelt —An indoor scene, hickory leaves, the svelteStilettos of a frozen stillicide —Was printed on my eyelids’ nether sideWhere it would tarry for an hour or two,And while this lasted all I had to doWas close my eyes to reproduce the leaves,40 Or indoor scene, or trophies of the eaves.I cannot understand why from the lakeI could make out our front porch when I’d takeLake Road to school, whilst now, although no treeHas intervened, I look but fail to seeEven the roof. Maybe some quirk in spaceHas caused a fold or furrow to displaceThe fragile vista, the frame house betweenGoldworth and Wordsmith on its square of green.I had a favorite young shagbark there50 With ample dark jade leaves and a black, spare,Vermiculated trunk. The setting sunBronzed the black bark, around which, like undoneGarlands, the shadows of the foliage fell.It is now stout and rough; it has done well.White butterflies turn lavender as theyPass through its shade where gently seems to swayThe phantom of my little daughter’s swing.The house itself is much the same. One wingWe’ve had revamped. There’s a solarium. There’s60 A picture window flanked with fancy chairs.TV’s huge paperclip now shines insteadOf the stiff vane so often visitedBy the naïve, the gauzy mockingbirdRetelling all the programs that she had heard;Switching from chippo-chippo to a clearTo-wee, to-wee; then rasping out: come here,Come here, come herrr’; flirting her tail aloft,Or gracefully indulging in a softUpward hop-flop, and instantly (to-wee!)70 Returning to her perch – the new TV.I was an infant when my parents died.They both were ornithologists. I’ve triedSo often to evoke them that todayI have a thousand parents. Sadly theyDissolve in their own virtues and recede,But certain words, chance words I hear or read,Such as “bad heart” always to him refer,And “cancer of the pancreas” to her.A preterist: one who collects cold nests.80 Here was my bedroom, now reserved for guests.Here, tucked away by the Canadian maid,I listened to the buzz downstairs and prayedFor everybody to be always well,Uncles and aunts, the maid, her niece Adèle,Who’d seen the Pope, people in books, and God.I was brought up by dear bizarre Aunt Maud,A poet and a painter with a tasteFor realistic objects interlacedWith grotesque growths and images of doom.90 She lived to hear the next babe cry. Her roomWe’ve kept intact. Its trivia createA still life in her style: the paperweightOf convex glass enclosing a lagoon,The verse book open at the Index (Moon,Moonrise, Moor, Moral), the forlorn guitar,The human skull; and from the local StarA curio: Red Sox Beat Yanks 5–4On Chapman’s Homer, thumbtacked to the door.My God died young. Theolatry I found100 Degrading, and its premises, unsound.No free man needs a God; but was I free?How fully I felt nature glued to meAnd how my childish palate loved the tasteHalf-fish, half-honey, of that golden paste!My picture book was at an early ageThe painted parchment papering our cage:Mauve rings around the moon; blood-orange sun;Twinned Iris; and that rare phenomenonThe iridule – when beautiful and strange,110 In a bright sky above a mountain rangeOne opal cloudlet in an oval formReflects the rainbow of a thunderstormWhich in a distant valley has been staged —For we are most artistically caged.And there’s the wall of sound: the nightly wallRaised by a trillion crickets in the fall.Impenetrable! Halfway up the hillI’d pause in thrall of their delirious trill.That’s Dr. Sutton’s light. That’s the Great Bear.120 A thousand years ago five minutes wereEqual to forty ounces of fine sand.Outstare the stars. Infinite foretime andInfinite aftertime: above your headThey close like giant wings, and you are dead.The regular vulgarian, I daresay,Is happier: he sees the Milky WayOnly when making water. Then as nowI walked at my own risk: whipped by the bough,Tripped by the stump. Asthmatic, lame and fat,130 I never bounced a ball or swung a bat.I was the shadow of the waxwing slainBy feigned remoteness in the windowpane.I had a brain, five senses (one unique),But otherwise I was a cloutish freak.In sleeping dreams I played with other chapsBut really envied nothing – save perhapsThe miracle of a lemniscate leftUpon wet sand by nonchalantly deftBicycle tires.Bicycle tires. A thread of subtle pain,140 Tugged at by playful death, released again,But always present, ran through me. One day,When I’d just turned eleven, as I layProne on the floor and watched a clockwork toy —A tin wheelbarrow pushed by a tin boy —Bypass chair legs and stray beneath the bed,There was a sudden sunburst in my head.And then black night. That blackness was sublime.I felt distributed through space and time:One foot upon a mountaintop, one hand150 Under the pebbles of a panting strand,One ear in Italy, one eye in Spain,In caves, my blood, and in the stars, my brain.There were dull throbs in my Triassic; greenOptical spots in Upper Pleistocene,An icy shiver down my Age of Stone,And all tomorrows in my funnybone.During one winter every afternoonI’d sink into that momentary swoon.And then it ceased. Its memory grew dim.160 My health improved. I even learned to swim.But like some little lad forced by a wenchWith his pure tongue her abject thirst to quench,I was corrupted, terrified, allured,And though old Doctor Colt pronounced me curedOf what, he said, were mainly growing pains,The wonder lingers and the shame remains.
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Ханс Фаллада (псевдоним Рудольфа Дитцена, 1893–1947) входит в когорту европейских классиков ХХ века. Его романы представляют собой точный диагноз состояния немецкого общества на разных исторических этапах.…1940-й год. Германские войска триумфально входят в Париж. Простые немцы ликуют в унисон с верхушкой Рейха, предвкушая скорый разгром Англии и установление германского мирового господства. В такой атмосфере бросить вызов режиму может или герой, или безумец. Или тот, кому нечего терять. Получив похоронку на единственного сына, столяр Отто Квангель объявляет нацизму войну. Вместе с женой Анной они пишут и распространяют открытки с призывами сопротивляться. Но соотечественники не прислушиваются к голосу правды — липкий страх парализует их волю и разлагает души.Историю Квангелей Фаллада не выдумал: открытки сохранились в архивах гестапо. Книга была написана по горячим следам, в 1947 году, и увидела свет уже после смерти автора. Несмотря на то, что текст подвергся существенной цензурной правке, роман имел оглушительный успех: он был переведен на множество языков, лег в основу четырех экранизаций и большого числа театральных постановок в разных странах. Более чем полвека спустя вышло второе издание романа — очищенное от конъюнктурной правки. «Один в Берлине» — новый перевод этой полной, восстановленной авторской версии.

Ганс Фаллада , Ханс Фаллада

Проза / Зарубежная классическая проза / Классическая проза ХX века / Проза прочее