Читаем Farewell Summer полностью

Douglas's hands fisted in his pockets, clutching dust, marbles, and a piece of white chalk. At any moment Charlie would run, the gang with him, yapping like dogs, to flop in deep grape-arbor twilight, not even swatting flies, eyes shut.

Douglas swiftly chalked their names, CHARLIE, TOM, PETE, BO, WILL, SAM, HENRY, AND RALPH, on the gravestones, then jumped back to let them spy themselves, so much chalk-dust on marble, flaking, as time blew by in the trees.

The boys stared for a long, long time, silent, their eyes moving over the strange shapes of chalk on the cold stone. Then, at last, there was the faintest exhalation of a whisper.

"Ain't going to die!" cried Will. "I'll fight!"

"Skeletons don't fight," said Douglas.

"No, sir!" Will lunged at the stone, erasing the chalk, tears springing to his eyes.

The other boys stood, frozen.

"Sure," Douglas said. "They'll teach us at school, say, here's your heart, the thing you get attacks with!

Show you bugs you can't see! Teach you to jump off buildings, stab people, fall and not move."

"No, sir," Sam gasped.

The great meadow of graveyard rippled under the last fingers of fading sunlight. Moths fluttered around them, and the sound of a graveyard creek ran over all their cold moonlit thoughts and gaspings as Douglas quietly finished: "Sure, none of us wants to just lie here and never play kick-the-can again. You want all

"Heck no, Doug…"

"Then we stop it! We find out how our folks make us grow, teach us to lie, cheat, steal. War? Great! Murder? Swell! We'll never be so well off as we are right now! Grow up and you turn into burglars and get shot, or worse, they make you wear a coat and tie and stash you in the First National Bank behind brass bars! We gotta stand still! Stay the age we are. Grow up? Hah! All you do then is marry someone who screams at you! Well, do we fight back? Will you let me tell you how to

"Gosh," said Charlie. "Yeah!"

"Then," said Doug, "talk to your body: Bones, not one more inch! Statues! Don't forget, Quartermain owns this graveyard. He makes money if we lie here, you and you and you! But we'll show him. And all those old men who own the town! Halloween's almost here and before then we got to sour their grapes! You wanna look like them? You know how they got that way? Well, they were all young once, but somewhere along the way, oh gosh, when they were thirty or forty or fifty, they chewed tobacco and phlegm-hocked up on themselves and that phlegm-hock turned all gummy and sticky and then the next thing you know there was spittle all over them and they began to look like, you know, you've seen, caterpillars turned into chrysalis, their darned skin hardened, and the young guys turned old, got trapped inside their shells, by God. Then they began to look like all those old guys. So, what you have is old men with young guys trapped inside them. Some year soon, maybe, their skin will crack and the old men will let the old young men out. But they won't be young anymore, they'll be a bunch of death's-head moths or, come to think of it, I think the old men are going to keep the young men inside them forever, so they're trapped in all that glue, always hoping to get free. It's pretty bad, isn't it? Pretty bad."

"Is that it, Doug?" said Tom.

"Yeah," said Pete. "You sure you know what you're talking about?"

"What Pete is trying to say is that we gotta know with precision, we gotta know what's accurate," said Bo.

"I'll say it again," said Doug. "You listen close. Tom, you taking this down?"

"Yup," said Tom, his pencil poised over his notepad. "Shoot."

They stood in the darkening shadows, in the smell of grass and leaves and old roses and cold stone and raised their heads, sniffling, and wiped their cheeks on their shirtsleeves.

"Okay, then," said Doug. "Let's go over it again. It's not enough just seeing these graves. We've got to sneak under open windows, listen, discover what those old geezers are sick with. Tom, go get the pumpkins out of Grandma's pantry. We're gonna have a contest, see which of us can carve the scariest pumpkin. One to look like old man Qjiartermain, one like Bleak, one like Gray. Light them up and put them out. Later tonight we start our first attack with the carved pumpkins. Okay?"

"Okay!" everyone shouted.

They leapt over WHYTE, WILLIAMS, and NEBB, jumped and vaulted SAMUELS and KELLER, screamed the iron gate wide, leaving the cold land behind them, lost sunlight, and the creek running forever below the hill. A host of gray moths followed them as far as the gate where Tom braked and stared at his brother accusingly.

"Doug, about those pumpkins. Gosh almighty, you're nuts!"

"What?" Doug stopped and turned back as the

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Я не знаю, где кончается придуманный сюжет и начинается жизнь. Вопрос этот для меня мучителен. Никогда не сумею на него ответить, но постоянно ищу ответ. Возможно, то и другое одинаково реально, просто кто-то живет внутри чужих навязанных сюжетов, а кто-то выдумывает свои собственные. Повести "Салюки" и "Теория вероятности" написаны по материалам уголовных дел. Имена персонажей изменены. Их поступки реальны. Их чувства, переживания, подробности личной жизни я, конечно, придумала. Документально-приключенческая повесть "Точка невозврата" представляет собой путевые заметки. Когда я писала трилогию "Источник счастья", мне пришлось погрузиться в таинственный мир исторических фальсификаций. Попытка отличить мифы от реальности обернулась фантастическим путешествием во времени. Все приведенные в ней документы подлинные. Тут я ничего не придумала. Я просто изменила угол зрения на общеизвестные события и факты. В сборник также вошли рассказы, эссе и стихи разных лет. Все они обо мне, о моей жизни. Впрочем, за достоверность не ручаюсь, поскольку не знаю, где кончается придуманный сюжет и начинается жизнь.

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