Читаем Stoner полностью

They breakfasted early. Edith seemed refreshed, fully recovered from her indisposition of the night before; she was almost gay again, and she looked at William with an intimacy and warmth that he thought were from gratitude and love. They did not speak of the night before; every now and then Edith looked at her new ring and adjusted it on her finger.


They wrapped themselves against the cold and walked the St. Louis streets, which were just beginning to crowd with people; they looked at goods in windows, they spoke of the future and gravely thought of how they would fill it. William began to regain the ease and fluency he had discovered during his early courtship of this woman who had become his wife;

Edith clung to his arm and seemed to attend to what he said as she had never done before. They had midmorning coffee in a small warm shop and watched the passers-by scurry through the cold. They found a carriage and drove to the Art Museum. Arm in arm they walked through the high rooms, through the rich glow of light reflected from the paintings. In the quietness, in the warmth, in the air that took on a timelessness from the old paintings and statuary, William Stoner felt an outrush of affection for the tall, delicate girl who walked beside him, and he felt a quiet passion rise within him, warm and formally sensuous, like the colors that came out from the walls around him.

When they left there late in the afternoon the sky had clouded and a thin drizzle had started; but William Stoner carried within him the warmth he had gathered in the museum. They got back to the hotel shortly after sunset; Edith went into the bedroom to rest, and William called downstairs to have a light dinner sent to their rooms; and on a sudden inspiration, he went downstairs himself into the saloon and asked for a bottle of champagne to be iced and sent up within the hour. The bartender nodded glumly and told him that it would not be a good champagne. By the first of July, Prohibition would be national; already it was illegal to brew or distill liquors; and there were no more than fifty bottles of champagne of any sort in the cellars of the hotel. And he would have to charge more than the champagne was worth. Stoner smiled and told him that would be all right.

Although on special occasions of celebration in her parents' home Edith had taken a little wine, she had never before tasted champagne. As they ate their dinner, set up on a small square table in their sitting room, she glanced nervously at the strange bottle in its bucket of ice. Two white candles in dull brass holders glowed unevenly against the darkness; William had turned out the other lights. The candles flickered between them as they talked, and the light caught the curves of the smooth dark bottle and glittered upon the ice that surrounded it. They were nervous and cautiously gay.

Inexpertly he withdrew the cork from the champagne; Edith jumped at the loud report; white froth spurted from the bottle neck and drenched his hand. They laughed at his clumsiness. They drank a glass of the wine, and Edith pretended tipsiness. They drank another glass. William thought he saw a languor come over her, a quietness fall upon her face, a pensiveness darken her eyes. He rose and went behind her, where she sat at the little table; he put his hands upon her shoulders, marveling at the thickness and heaviness of his fingers upon the delicacy of her flesh and bone. She stiffened beneath his touch, and he made his hands go gently to the sides of her thin neck and let them brush into the fine reddish hair; her neck was rigid, the cords vibrant in their tensity. He put his hands on her arms and lifted gently, so that she rose from the chair; he turned her to face him. Her eyes, wide and pale and nearly transparent in the candlelight, looked upon him blankly. He felt a distant closeness to her, and a pity for her helplessness; desire thickened in his throat so that he could not speak. He pulled her a little toward the bedroom, feeling a quick hard resistance in her body, and feeling at the same moment a willed putting away of the resistance.

He left the door to the unlighted bedroom open; the candlelight glowed feebly in the darkness. He murmured as if to comfort and assure her, but his words were smothered and she could not hear what he said. He put his hands upon her body and fumbled for the buttons that would open her to him. She pushed him away impersonally; in the dimness her eyes were closed and her lips tight. She turned away from him and with a quick movement loosened her dress so that it fell crumpled about her feet. Her arms and shoulders were bare; she shuddered as if from cold and said in a flat voice, "Go in the other room. I'll be ready in a minute." He touched her arms and put his lips to her shoulder, but she would not turn to him.

Перейти на страницу:

Похожие книги

Точка опоры
Точка опоры

В книгу включены четвертая часть известной тетралогия М. С. Шагинян «Семья Ульяновых» — «Четыре урока у Ленина» и роман в двух книгах А. Л. Коптелова «Точка опоры» — выдающиеся произведения советской литературы, посвященные жизни и деятельности В. И. Ленина.Два наших современника, два советских писателя - Мариэтта Шагинян и Афанасий Коптелов,- выходцы из разных слоев общества, люди с различным трудовым и житейским опытом, пройдя большой и сложный путь идейно-эстетических исканий, обратились, каждый по-своему, к ленинской теме, посвятив ей свои основные книги. Эта тема, говорила М.Шагинян, "для того, кто однажды прикоснулся к ней, уже не уходит из нашей творческой работы, она становится как бы темой жизни". Замысел создания произведений о Ленине был продиктован для обоих художников самой действительностью. Вокруг шли уже невиданно новые, невиданно сложные социальные процессы. И на решающих рубежах истории открывалась современникам сила, ясность революционной мысли В.И.Ленина, энергия его созидательной деятельности.Афанасий Коптелов - автор нескольких романов, посвященных жизни и деятельности В.И.Ленина. Пафос романа "Точка опоры" - в изображении страстной, непримиримой борьбы Владимира Ильича Ленина за создание марксистской партии в России. Писатель с подлинно исследовательской глубиной изучил события, факты, письма, документы, связанные с биографией В.И.Ленина, его революционной деятельностью, и создал яркий образ великого вождя революции, продолжателя учения К.Маркса в новых исторических условиях. В романе убедительно и ярко показаны не только организующая роль В.И.Ленина в подготовке издания "Искры", не только его неустанные заботы о связи редакции с русским рабочим движением, но и работа Владимира Ильича над статьями для "Искры", над проектом Программы партии, над книгой "Что делать?".

Афанасий Лазаревич Коптелов , Виль Владимирович Липатов , Дмитрий Громов , Иван Чебан , Кэти Тайерс , Рустам Карапетьян

Фантастика / Современная проза / Cтихи, поэзия / Проза / Советская классическая проза / Современная русская и зарубежная проза