Читаем The Complete Short Stories полностью

My first letters, the familiar indictments of infidelity, I never posted. They seemed na•ve, inadequate, too obviously the handiwork of a paranoiac with a grudge. I locked them away in a small steel box, later re-drafted them, striking out the staler crudities and trying to substitute something more subtle, a hint of perversion and obscenity, that would plunge deeper barbs of suspicion into the reader’s mind.

It was while composing the letter to Mrs Rankin, itemizing in an old notebook the more despicable of her husband’s qualities, that I discovered the curious relief afforded by the exercise of composition, by the formal statement, in the minatory language of the anonymous letter (which is, certainly, a specialized branch of literature, with its own classical rules and permitted devices) of the viciousness and depravity of the letter’s subject and the terrifying nemesis awaiting him. Of course, this catharsis is familiar to those regularly able to recount unpleasant experiences to priest, friend or wife, but to me, who lived a solitary, friendless life, its discovery was especially poignant.

Over the next few days I made a point each evening on my return home of writing out a short indictment of Rankin’s iniquities, analysing his motives, and even anticipating the slights and abuses of the next day. These I would cast in the form of narrative, allowing myself a fair degree of licence, introducing imaginary situations and dialogues that served to highlight Rankin’s atrocious behaviour and my own stoical forbearance.

The compensation was welcome, for simultaneously Rankin’s campaign against me increased. He became openly abusive, criticized my work before junior members of the staff, even threatened to report me to the directors. One afternoon he drove me to such a frenzy that I barely restrained myself from assaulting him. I hurried home, unlocked my writing box and sought relief in my diaries. I wrote page after page, re-enacting in my narrative the day’s events, then reaching forward to our final collision the following morning, culminating in an accident that intervened to save me from dismissal.

My last lines were: … Shortly after 2 o’clock the next afternoon, spying from his usual position on the 7th floor stairway for any employees returning late from lunch, Rankin suddenly lost his balance, toppled over the rail and fell to his death in the entrance hall below.

As I wrote this fictitious scene it seemed scant justice, but little did I realize that a weapon of enormous power had been placed gently between my fingers.

Coming back to the office after lunch the next day I was surprised to find a small crowd gathered outside the entrance, a police car and ambulance pulled up by the kerb. As I pushed forward up the steps, several policemen emerged from the building clearing the way for two orderlies carrying a stretcher across which a sheet had been drawn, revealing the outlines of a human form. The face was concealed, and I gathered from conversation around me that someone had died. Two of the directors appeared, their faces shocked and drawn.

‘Who is it?’ I asked one of the office boys who were hanging around breathlessly.

‘Mr Rankin,’ he whispered. He pointed up the stairwell. ‘He slipped over the railing on the 7th floor, fell straight down, completely smashed one of those big tiles outside the lift..

He gabbled on, but I turned away, numbed and shaken by the sheer physical violence that hung in the air. The ambulance drove off, the crowd dispersed, the directors returned, exchanging expressions of grief and astonishment with other members of the staff, the janitors took away their mops and buckets, leaving behind them a damp red patch and the shattered tile.

Within an hour I had recovered. Sitting in front of Rankin’s empty office, watching the typists hover helplessly around his desk, apparently unconvinced that their master would never return, my heart began to warm and sing. I became transformed, a load which had threatened to break me had been removed from my back, my mind relaxed, the tensions and bitterness dissipated. Rankin had gone, finally and irrevocably. The era of injustice had ended.

I contributed generously to the memorial fund which made the rounds of the office; I attended the funeral, gloating inwardly as the coffin was bundled into the sod, joining fulsomely in the expressions of regret. I readied myself to occupy Rankin’s desk, my rightful inheritance.

My surprise a few days later can easily be imagined when Carter, a younger man of far less experience and generally accepted as my junior, was promoted to fill Rankin’s place. At first I was merely baffled, quite unable to grasp the tortuous logic that could so offend all laws of precedence and merit. I assumed that Rankin had done his work of denigrating me only too well.

However, I accepted the rebuff, offered Carter my loyalty and assisted his reorganization of the office.

Перейти на страницу:

Похожие книги

Любовь гика
Любовь гика

Эксцентричная, остросюжетная, странная и завораживающая история семьи «цирковых уродов». Строго 18+!Итак, знакомьтесь: семья Биневски.Родители – Ал и Лили, решившие поставить на своем потомстве фармакологический эксперимент.Их дети:Артуро – гениальный манипулятор с тюленьими ластами вместо конечностей, которого обожают и чуть ли не обожествляют его многочисленные фанаты.Электра и Ифигения – потрясающе красивые сиамские близнецы, прекрасно играющие на фортепиано.Олимпия – карлица-альбиноска, влюбленная в старшего брата (Артуро).И наконец, единственный в семье ребенок, чья странность не проявилась внешне: красивый золотоволосый Фортунато. Мальчик, за ангельской внешностью которого скрывается могущественный паранормальный дар.И этот дар может либо принести Биневски богатство и славу, либо их уничтожить…

Кэтрин Данн

Проза / Современная русская и зарубежная проза / Проза прочее
Добро не оставляйте на потом
Добро не оставляйте на потом

Матильда, матриарх семьи Кабрелли, с юности была резкой и уверенной в себе. Но она никогда не рассказывала родным об истории своей матери. На закате жизни она понимает, что время пришло и история незаурядной женщины, какой была ее мать Доменика, не должна уйти в небытие…Доменика росла в прибрежном Виареджо, маленьком провинциальном городке, с детства она выделялась среди сверстников – свободолюбием, умом и желанием вырваться из традиционной канвы, уготованной для женщины. Выучившись на медсестру, она планирует связать свою жизнь с медициной. Но и ее планы, и жизнь всей Европы разрушены подступающей войной. Судьба Доменики окажется связана с Шотландией, с морским капитаном Джоном Мак-Викарсом, но сердце ее по-прежнему принадлежит Италии и любимому Виареджо.Удивительно насыщенный роман, в основе которого лежит реальная история, рассказывающий не только о жизни итальянской семьи, но и о судьбе британских итальянцев, которые во Вторую мировую войну оказались париями, отвергнутыми новой родиной.Семейная сага, исторический роман, пейзажи тосканского побережья и прекрасные герои – новый роман Адрианы Трижиани, автора «Жены башмачника», гарантирует настоящее погружение в удивительную, очень красивую и не самую обычную историю, охватывающую почти весь двадцатый век.

Адриана Трижиани

Историческая проза / Современная русская и зарубежная проза