Читаем The Corrections полностью

The first exercise required that Alfred take his right knee in his hands and draw it toward his chest, and then do the same with his left knee. Denise guided his wayward hands to his right knee, and although she was dismayed by how rigid he was getting, he was able, with her help, to stretch his hip past ninety degrees.


“Now do your left knee,” she said.


Alfred put his hands on his right knee again and pulled it toward his chest.


“That’s great,” she said. “But now try it with your left.”


He lay breathing hard and did nothing. He wore the expression of a man suddenly remembering disastrous circumstances.


“Dad? Try it with your left knee.”


She touched his left knee, to no avail. In his eyes she saw a desperate wish for clarification and instruction. She moved his hands to his left knee, and the hands immediately fell off. Possibly his rigidity was worse on the left side? She put his hands back on his knee and helped him raise it.


If anything, he was more flexible on the left.


“Now you try it,” she said.


He grinned at her, breathing like someone very scared. “Try what.”


“Put your hands on your left knee and lift it.”


“Denise, I’ve had enough of this.”


“You’ll feel a lot better if you can do a little stretching,” she said. “Just do what you just did. Put your hands on your left knee and raise it.”


The smile she gave him came reflected back as confusion. His eyes met hers in silence.


“Which is my left?” he said.


She touched his left knee. “This one.”


“And what do I do?”


“Put your hands on it and pull it toward your chest.”


His eyes wandered anxiously, reading bad messages on the ceiling.


“Dad, just concentrate.”


“There’s not much point.”


“OK.” She took a deep breath. “OK, let’s leave that one and try the second exercise. All right?”


He looked at her as if she, his only hope, were sprouting fangs and antlers.


“So in this one,” she said, trying to ignore his expression, “you cross your right leg over your left leg, and then let both legs fall to the right as far as they can go. I like this exercise,” she said. “It stretches your hip flexor. It feels really good.”


She explained it to him two more times and then asked him to raise his right leg.


He lifted both legs a few inches off the mattress.


“Just your right leg,” she said gently. “And keep your knees bent.”


“Denise!” His voice was high with strain. “There’s no point!”


“Here,” she said. “Here.” She pushed on his feet to bend his knees. She lifted his right leg, supporting it by the calf and thigh, and crossed it over his left knee. At first there was no resistance, and then, all at once, he seemed to cramp up violently.


“Denise.”


“Dad, just relax.”


She already knew that he was never coming to Philadelphia. But now a tropical humidity was rising off him, a tangy almost-smell of letting go. The pajama fabric on his thigh was hot and wet in her hand, and his entire body was trembling.


“Oh, shoot,” she said, releasing his leg.


Snow was swirling in the windows, lights appearing in the neighbors’ houses. Denise wiped her hand on her jeans and lowered her eyes to her lap and listened, her heart beating hard, to the labored breathing of her father and the rhythmic rustling of his limbs on the bedspread. There was an arc of soak on the bedspread near his crotch and a longer capillary-action reach of wetness down one leg of his pajamas. The initial almost-smell of fresh piss had resolved, as it cooled in the underheated room, into an aroma quite definite and pleasant.


“I’m sorry, Dad,” she said. “Let me get you a towel.”


Alfred smiled up at the ceiling and spoke in a less agitated voice. “I lie here and I can see it,” he said. “Do you see it?”


“See what?”


He pointed vaguely skyward with one finger. “Bottom on the bottom. Bottom on the bottom of the bench,” he said. “Written there. Do you see it?”


Now she was confused and he wasn’t. He cocked an eyebrow and gave her a canny look. “You know who wrote that, don’t you? The fuh. The fuh. Fellow with the you know.”


Holding her gaze, he nodded significantly.


“I don’t understand what you’re talking about,” Denise said.


“Your friend,” he said. “Fellow with the blue cheeks.”


The first one percent of comprehension was born at the back of her neck and began to grow to the north and to the south.


“Let me get a towel,” she said, going nowhere.


Her father’s eyes rolled up toward the ceiling again. “He wrote that on the bottom of the bench. Bommunnuthuh. Bottomofthebench. And I lie there and I can see it.”


“Who are we talking about?”


“Your friend in Signals. Fellow with the blue cheeks.”


“You’re confused, Dad. You’re having a dream. I’m going to get a towel.”


“See, there was never any point in saying anything.”


“I’m getting a towel,” she said.


She crossed the bedroom to the bathroom. Her head was still in the nap that she’d been taking, and the problem was getting worse. She was falling further out of sync with the waveforms of reality that constituted towel-softness, sky-darkness, floor-hardness, air-clearness. Why this talk of Don Armour? Why now?


Перейти на страницу:

Похожие книги

Дети мои
Дети мои

"Дети мои" – новый роман Гузель Яхиной, самой яркой дебютантки в истории российской литературы новейшего времени, лауреата премий "Большая книга" и "Ясная Поляна" за бестселлер "Зулейха открывает глаза".Поволжье, 1920–1930-е годы. Якоб Бах – российский немец, учитель в колонии Гнаденталь. Он давно отвернулся от мира, растит единственную дочь Анче на уединенном хуторе и пишет волшебные сказки, которые чудесным и трагическим образом воплощаются в реальность."В первом романе, стремительно прославившемся и через год после дебюта жившем уже в тридцати переводах и на верху мировых литературных премий, Гузель Яхина швырнула нас в Сибирь и при этом показала татарщину в себе, и в России, и, можно сказать, во всех нас. А теперь она погружает читателя в холодную волжскую воду, в волглый мох и торф, в зыбь и слизь, в Этель−Булгу−Су, и ее «мысль народная», как Волга, глубока, и она прощупывает неметчину в себе, и в России, и, можно сказать, во всех нас. В сюжете вообще-то на первом плане любовь, смерть, и история, и политика, и война, и творчество…" Елена Костюкович

Гузель Шамилевна Яхина

Проза / Современная русская и зарубежная проза / Проза прочее
Земля
Земля

Михаил Елизаров – автор романов "Библиотекарь" (премия "Русский Букер"), "Pasternak" и "Мультики" (шорт-лист премии "Национальный бестселлер"), сборников рассказов "Ногти" (шорт-лист премии Андрея Белого), "Мы вышли покурить на 17 лет" (приз читательского голосования премии "НОС").Новый роман Михаила Елизарова "Земля" – первое масштабное осмысление "русского танатоса"."Как такового похоронного сленга нет. Есть вульгарный прозекторский жаргон. Там поступившего мотоциклиста глумливо величают «космонавтом», упавшего с высоты – «десантником», «акробатом» или «икаром», утопленника – «водолазом», «ихтиандром», «муму», погибшего в ДТП – «кеглей». Возможно, на каком-то кладбище табличку-времянку на могилу обзовут «лопатой», венок – «кустом», а землекопа – «кротом». Этот роман – история Крота" (Михаил Елизаров).Содержит нецензурную браньВ формате a4.pdf сохранен издательский макет.

Михаил Юрьевич Елизаров

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