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Alicia opened the flap of her bag. She had a pair of scissors in her hand, holding them like a knife. Richie had the swirling feeling that things had gotten out of control. He shouted again, in a kind of strangled voice, “Why did you start in with him? You were dating me! We were having fun!”

But she was staring at Michael, and then she stabbed him in the arm, the wrong arm — the left arm was the wrong arm, since he was right-handed. He swung his right, knocked her to the ground, knelt down over her, and began slapping her. Blood was soaking the sleeve of his shirt, but he didn’t seem to feel anything other than fury; Richie had seen this many times, too. The scissors had been knocked away. Richie picked them up out of the leaves and tossed them deeper into the woods. Alicia was squirming, kicking, but Michael, straddling her, was pinning her hands with his legs and slapping. Richie did the only thing he could think to do, which was aim a kick right at him, right at his bleeding shoulder. He kicked him off her, and as Michael went down, he said, “Shit, whose side are you on, anyway?”

Alicia got up, grabbed her bag and her coat, and ran. She was crying. By now it was nearly dark. Michael lay on his back, quiet, and Richie stood next to a tree. They could hear Alicia running, and then they couldn’t. Then all they could hear was the sounds of birds. When it was really dark, Richie said, “When did you meet her?” and Michael said, “What do you care?”

At the infirmary, they gave Michael a bunch of shots and said that the wound was serious but not dangerous, as long as he kept it clean and didn’t use that arm — the “weapon” (the boys had said it was a knife) had pierced the triceps brachii muscle fairly deeply. Richie went back and forth about calling Alicia, but then was too cowardly to do it. On the last day of exams, two weeks later, he ran into her friend Eileen, who scowled at him and said, “Alicia told me you and your brother attacked her.” Eileen wanted him to explain or contradict this — Eileen had thought he was a nice guy. But he could think of nothing to say.

EVERYONE KNEW that the Russians had bought four or five hundred thousand tons of corn right after Nixon was elected in 1968, and everyone knew that Nixon had turned a blind eye to it. And why not? Joe said to John. They need it, we’ve got it. Clarence Palmby, the guy in the Nixon Ag Department who ran the deal, was about Joe’s age, from Minnesota. If you squinted, you could see him sitting in the Denby Café, sprinkling sugar in his coffee and making his case, just the way Dave Crest did, or Ralph Thorn. Everyone also said that the Russkies were paying cash — that’s what gangsters always did, wasn’t it? — and of course this was just the tip of the iceberg. Then everyone forgot about it, because the longshoremen said they wouldn’t load it and the Russkies said they wouldn’t pay for American ships to transport it, so that was that. What with Vietnam and then Watergate, there was nothing in the paper about grain deals, and the ag report you heard on the radio every morning was about the same as what you heard in town.

Earl Butz, the actual secretary of agriculture, everyone in Denby did not know. He was from Indiana somewhere, and wherever he was from, they did not do what Iowans did, which was to leave unpleasant thoughts unspoken. Joe agreed with that remark, though—“Adapt or die,” even if dying was the most likely outcome. As Rosanna said, “You know what he’s thinking, which is a welcome change.” When Butz and Palmby trotted off to Russia and came back, there were no rumors about what they had found out. Palmby disappeared, but Butz was right out there, saying this and saying that about how great for the average farmer this deal was going to be. Then Palmby reappeared, working for Continental Grain, so of course there was conflict of interest, and then Continental put through the biggest grain deal in the history of the world, and the Russians walked away with millions of tons of corn, wheat, and beans at a very good price — hardly a penny of which filtered down to the farmers sitting around the Denby Café. What did filter down was the conviction that it was time to get out of the hog business. All at once, corn was as golden as it looked, meaning expensive, and a farmer had to decide if he should send the hogs to slaughter and sell the gold itself. Some of the farmers at the café thought Palmby had made a typical Minnesota hash of his appearance before Congress. Had the sale to the Russkies driven up prices of wheat, flour, bread? Yes. Had the sale of corn driven up the price of meat and eggs? Yes. A fellow from Chicago would have said, “Maybe,” or “We can’t demonstrate that,” but a fellow from Blue Earth, Minnesota — what could you expect? The lesson Joe took from the whole thing was that people in the cities had no idea where their bread and steaks came from, and no one in the government was planning to tell them.

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Early Warning
Early Warning

From the Pulitzer Prize winner: a journey through mid-century America, as lived by the extraordinary Langdon family we first met in Some Luck, a national best seller published to rave reviews from coast to coast.Early Warning opens in 1953 with the Langdons at a crossroads. Their stalwart patriarch Walter, who with his wife had sustained their Iowa farm for three decades, has suddenly died, leaving their five children looking to the future. Only one will remain to work the land, while the others scatter to Washington, DC, California, and everywhere in between. As the country moves out of postwar optimism through the Cold War, the social and sexual revolutions of the 1960s and '70s, and then into the unprecedented wealth — for some — of the early '80s, the Langdon children will have children of their own: twin boys who are best friends and vicious rivals; a girl whose rebellious spirit takes her to the notorious Peoples Temple in San Francisco; and a golden boy who drops out of college to fight in Vietnam — leaving behind a secret legacy that will send shockwaves through the Langdon family into the next generation. Capturing an indelible period in America through the lens of richly drawn characters we come to know and love, Early Warning is an engrossing, beautifully told story of the challenges — and rich rewards — of family and home, even in the most turbulent of times.

Джейн Смайли

Современная русская и зарубежная проза

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