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Lillian felt her heart start pounding.

“Then she went into her room and got the belt of her dressing gown and she tied it to the bottom of a fat newel post, and then she hanged herself. When my father came home for his dinner, he saw her there. I was screaming from my room.”

Lillian started shaking.

“My father never hid any of this from me. He told me what I asked to hear, and he told it honestly. The woman he found to take care of me was a kind and loving woman, and when he sent me to boarding school, he sent me to a pleasant place with lots of animals and playing fields, and he made sure I was big enough and strong enough to defend myself, which I was. He never said an unloving word about my mother, but he would look hard into my eyes, Lil, and what he was looking for was that weakness, that failure of spirit. That fatal inability to take it, whatever it is.”

Lillian said, “You can take it, Arthur.” She was sure of this — he looked intent and perplexed, not broken, or breaking. But he said, “Wisner couldn’t.”

“You hated Frank Wisner.”

“Why do you think that is?”

“Because he was wrong and foolish all the time?” Then she said, “There is no one like you, Arthur. You make Frankie look dull and Henry look stupid and Timmy look shy. You make Joe look weak. I cannot live without you.”

And they both knew what that meant.

BY THE SUMMER before ninth grade, Debbie had become a pretty good rider, and she was too big for the pony, which was fine, because Fiona had a new horse, another old racehorse but more elegant than Prince, a bay with a star named Rocky (racing name Roquefort, with French bloodlines). Fiona loved him. He was a jumper; though he could not be hunted, he could jump six feet, and had done so. Oddly enough, he wasn’t bad on the trail — his problem was not spookiness, said Fiona, it was bossiness. He would go on the trail with Prince if he could go first. That was fine with Prince.

Fiona didn’t scare Debbie anymore — she was used to Fiona. Everyone at school thought Debbie was lucky to be friends with her.

In the hot weather, they rode trails every day. The first time they stole a watermelon, Debbie was nervous. But it was easy. They walked Rocky and Prince along a trail that ran along the far edge of a sandy watermelon patch that was hidden from the house and barn by both a line of trees and a stand of weeds. Fiona stared at the watermelons as they walked slowly past, and when she saw a ripe one, she slid off Rocky, handed the reins to Debbie, and skittered over to it, bright and oblong in the sun. Then she stood up, looked around, hoisted it (it was heavy), and dropped it. It burst open in a glory of reddish pink. Because she was Fiona, she offered pieces to the horses first, and Debbie saw that they knew what they were getting. Rocky stuck his nose into the wet sweetness and sort of slurped it up, licking and chewing at the same time. Fiona said, “We have to remember to wash their bits.” Prince had his turn, and then Fiona ran over and got pieces for Debbie and herself. After they were finished, Fiona took a dollar out of her pocket and secured it under the broken melon.

The second time, Debbie and Fiona were talking about a show Fiona had entered and didn’t notice the horses’ ears flicking. They took the exact same path to the melons, and Fiona jumped off Rocky and handed his reins to Debbie. Debbie was looking into the woods, not toward the farmhouse, because she was just a little afraid of having a deer jump out and spook Prince. Fiona broke the watermelon and brought some over, then went back for more. It was then that they heard the shout, and about a moment after that that they heard the other thing, the shot. Debbie had never heard a shot before, that she knew of. But the horses threw their heads, Fiona dropped the pieces of melon, and she jumped onto Rocky as fast as Debbie had ever seen her. They took off down the trail that ran past the edge of the melon field, Rocky in the lead, Prince right behind him, and there was another shot. Fiona, who was bending over Rocky’s neck, yelled, “Ouch!” and her hand came around and touched her behind. Then Prince shied to one side and almost lost Debbie, but she stayed on. They galloped. Debbie did not see a trail; she had to keep her head low and let Prince figure it out, because she had no idea where they were going.

They ended up near the top of the hill behind the farm, and when they came out into a little clearing, Debbie could see the farmer. He had his shotgun over his arm. The horses were breathing hard — the run up the hill had taken the wind out of them. Fiona dismounted and ran her hand over her behind and then over her right arm. There were marks — tiny red dots. She licked them. She said, “That’s salt. He fills the shells with rock salt and shoots them.”

“He’s done that before?”

“He shot me twice last year, but he didn’t hit me.” She ran her hand over her behind again. “It stung. Did it go through my breeches?”

“No. There aren’t any holes.”

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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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