Читаем Stoner полностью

"I know," Katherine said. "I've known it all along, I guess. Even with the pretending, I've known that sometime, sometime, we would . . . I've known." She halted and looked at him steadily. Her eyes became suddenly bright with tears. "But damn it all, Bill! Damn it all!"

They said no more. They embraced so that neither might see the other's face, and made love so that they would not speak. They coupled with the old tender sensuality of knowing each other well and with the new intense passion of loss. Afterward, in the black night of the little room, they lay still unspeaking, their bodies touching lightly. After a long while Katherine's breath came steadily, as if in sleep. Stoner got up quietly, dressed in the dark, and went out of the room without awakening her. He walked the still, empty streets of Columbia until the first gray light began in the east; then he made his way to the University campus. He sat on the stone steps in front of Jesse Hall and watched the light from the east creep upon the great stone columns in the center of the quad. He thought of the fire that, before he was born, had gutted and ruined the old building; and he was distantly saddened by the view of what remained. When it was light he let himself into the hall and went to his office, where he waited until his first class began.

He didn't see Katherine Driscoll again. After he left her, during the night, she got up, packed all her belongings, cartoned her books, and left word with the manager of the apartment house where to send them. She mailed the English office her grades, her instructions to dismiss her classes for the week and a half that remained of the semester, and her resignation. And she was on the train, on her way out of Columbia, by two o'clock that afternoon.

She must have been planning her departure for some time, Stoner realized; and he was grateful that he had not known and that she left him no final note to say what could not be said.

XIV

That summer he did not teach; and he had the first illness of his life. It was a fever of high intensity and obscure origin, which lasted only a week; but it drained him of his strength, he became very gaunt, and suffered in its aftermath a partial loss of hearing. For the entire summer he was so weak and listless that he could walk only a few steps without becoming exhausted; he spent nearly all that time in the small enclosed porch at the back of the house, lying on the day bed or sitting in the old easy chair he had had brought up from the basement. He stared out the windows or at the slatted ceiling, and stirred himself now and then to go into the kitchen to get a bite of food.

He had hardly the energy to converse with Edith or even with Grace--though sometimes Edith came into the back room, spoke to him distractedly for a few minutes, and then left him alone as abruptly as she had intruded upon him.

Once, in the middle of summer, she spoke of Katherine.

"I just heard, a day or so ago," she said. "So your little coed has gone, has she?"

With an effort he brought his attention away from the window and turned to Edith. "Yes," he said mildly.

"What was her name?" Edith asked. "I never can remember her name."

"Katherine," he said. "Katherine Driscoll."

"Oh, yes," Edith said. "Katherine Driscoll. Well, you see? I told you, didn't I? I told you these things weren't important."

He nodded absently. Outside, in the old elm that crowded the back-yard fence, a large black-and-white bird--a magpie --had started to chatter. He listened to the sound of its calling and watched with remote fascination the open beak as it strained out its lonely cry.

He aged rapidly that summer, so that when he went back to his classes in the fall there were few who did not recognize him with a start of surprise. His face, gone gaunt and bony, was deeply lined; heavy patches of gray ran through his hair; and he was heavily stooped, as if he carried an invisible burden. His voice had grown a little grating and abrupt, and he had a tendency to stare at one with his head lowered, so that his clear gray eyes were sharp and querulous beneath his tangled eyebrows. He seldom spoke to anyone except his students, and he responded to questions and greetings always impatiently and sometimes harshly.

He did his work with a doggedness and resolve that amused his older colleagues and enraged the younger instructors, who, like himself, taught only freshman composition; he spent hours marking and correcting freshman themes, he had student conferences every day, and he attended faithfully all departmental meetings. He did not speak often at these meetings, but when he did he spoke without tact or diplomacy, so that among his colleagues he developed a reputation for crustiness and ill temper. But with his young students he was gentle and patient, though he demanded of them more work than they were willing to give, with an impersonal firmness that was hard for many of them to understand.

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