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Rosolowski and Ludwika were let into the scheme, and after lengthy discussions, modifications and adjustments the plan was complete. To begin with they arranged that Migurski, once he had been presumed drowned, should run away alone on foot. Albina would then take the carriage and meet him at a prearranged place. This was the first plan. But later, when Rosolowski had told them of all the unsuccessful escape attempts which had been made in Siberia over the past five years (during which only one fortunate man had escaped to safety), Albina put forward a different plan – namely, that Juzio should be hidden in the carriage and travel with her and Ludwika to Saratov. At Saratov he would change his clothes and walk downstream along the bank of the Volga to an agreed spot where he would board a boat which she would have hired in Saratov and which would take the three of them down the Volga as far as Astrakhan and then across the Caspian Sea to Persia. This plan was approved by them all, as well as by its principal architect Rosolowski, but they were faced with the difficulty of fitting the carriage with a hiding-place big enough to take a man without attracting the attention of the authorities. And when Albina, having paid a visit to the children’s grave, told Rosolowski that she felt bad about leaving her children’s remains in an alien land, he thought for a moment, then said:

‘Ask the authorities for permission to take the children’s coffins away with you – they will grant it.’

‘No, I can’t do that, I don’t want to!’ said Albina.

‘You must ask them. Everything depends on it. We shall not take the coffins, but we shall make a large box for them and into that box we shall put Josif.’

For a moment Albina wanted to reject this suggestion, so painful was it for her to associate any such deception with the memory of her children, but when Migurski cheerfully approved the project, she agreed.

The final version of the plan was thus as follows: Migurski would do everything to convince the authorities that he had been drowned. As soon as his death had been officially recognized she would apply for permission, following the death of her husband, to return to her native land, taking with her the mortal remains of her children. Once the permission had been granted everything would be done to give the impression that the graves had been opened and the coffins taken out, but the coffins would remain where they were and instead of the coffins it would be Migurski who would take their place in the specially constructed box. The box would be loaded on to the tarantass and so they would reach Saratov. At Saratov they would transfer to the boat. In the boat Juzio would emerge and they would sail down to the Caspian Sea. And there Persia or Turkey awaited them – and freedom.

IX

First of all the Migurskis purchased a tarantass on the pretext that Ludwika would soon be leaving to return to her homeland. Then began the construction of the box to allow Migurski to lie in it, if only in a contorted position, without suffocating, to emerge quickly and unobtrusively, and to crawl back into it when necessary. The designing and fitting out of the box was the work of all three of them together – Albina, Rosolowski, and Migurski himself. Rosolowski’s help was particularly vital, since he was an accomplished carpenter. They made the box to be fixed against the front-to-back struts at the rear of the coach body and flush with it, and the wall of the box which lay against the bodywork could be slid out, allowing a person to lie partly in the box and partly in the bottom of the tarantass. In addition airholes were bored in the box, and the top and sides were to be covered with bast matting and tied up with cords. It was possible to get in and out of the box by way of the tarantass, which was fitted with a seat.

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Иван Павлович Мележ — талантливый белорусский писатель Его книги, в частности роман "Минское направление", неоднократно издавались на русском языке. Писатель ярко отобразил в них подвиги советских людей в годы Великой Отечественной войны и трудовые послевоенные будни.Романы "Люди на болоте" и "Дыхание грозы" посвящены людям белорусской деревни 20 — 30-х годов. Это было время подготовки "великого перелома" решительного перехода трудового крестьянства к строительству новых, социалистических форм жизни Повествуя о судьбах жителей глухой полесской деревни Курени, писатель с большой реалистической силой рисует картины крестьянского труда, острую социальную борьбу того времени.Иван Мележ — художник слова, превосходно знающий жизнь и быт своего народа. Психологически тонко, поэтично, взволнованно, словно заново переживая и осмысливая недавнее прошлое, автор сумел на фоне больших исторических событий передать сложность человеческих отношений, напряженность духовной жизни героев.

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