Читаем The Corrections полностью

Two inches of snow lay on the lawn. In the west the clouds were breaking up; violent eye-shadow shades of lavender and robin’s-egg blue marked the cutting edge of the latest cold front. Denise walked down the middle of tread-marked twilit streets and smoked until the nicotine had dulled her distress and she could think more clearly.

She gathered that Don Armour, after the Wroth brothers had bought the Midland Pacific and commenced their downsizing of it, had failed to make the cut for Little Rock and had gone to Alfred and complained. Maybe he’d threatened to brag about his conquest of Alfred’s daughter or maybe he’d asserted his rights as a quasi member of the Lambert family; either way, Alfred had told him to go to hell. Then Alfred had gone home and examined the underside of his workbench.

Denise believed that there had been a scene between Don Armour and her father, but she hated to imagine it. How Don Armour must have loathed himself for crawling to his boss’s boss’s boss and trying to beg or blackmail inclusion in the railroad’s move to Little Rock; how betrayed Alfred must have felt by this daughter who’d won such praise for her work habits; how dismally the entire intolerable scene must have turned on the insertion of Don Armour’s dick into this and that guilty, unexcited orifice of hers. She hated to think of her father kneeling beneath his workbench and locating that penciled heart, hated the idea of Don Armour’s drecky insinuations entering her father’s prudish ears, hated to imagine how keenly it offended a man of such discipline and privacy to learn that Don Armour had been roaming and poking through his house at will.

It was never my intention to involve you in this .

Well, and sure enough: her father had resigned from the railroad. He’d saved her privacy. He’d never breathed a word of any of this to Denise, never given any sign of thinking less of her. For fifteen years she’d tried to pass for a perfectly responsible and careful daughter, and he’d known all along that she was not.

She thought there might be comfort in this idea if she could manage to keep it in her head.

As she left her parents’ neighborhood, the houses got newer and bigger and boxier. Through windows with no mullions or fake plastic mullions she could see luminous screens, some giant, some miniature. Evidently every hour of the year, including this one, was a good hour for staring at a screen. Denise unbuttoned her coat and turned back, taking a shortcut through the field behind her old grade school.

She’d never really known her father. Probably nobody had. With his shyness and his formality and his tyrannical rages he protected his interior so ferociously that if you loved him, as she did, you learned that you could do him no greater kindness than to respect his privacy.

Alfred, likewise, had shown his faith in her by taking her at face value: by declining to pry behind the front that she presented. She’d felt happiest with him when she was publicly vindicating his faith in her: when she got straight A’s; when her restaurants succeeded; when reviewers loved her.

She understood, better than she would have liked to, what a disaster it had been for him to wet the bed in front of her. Lying on a stain of fast-cooling urine was not the way he wished to be with her. They only had one good way of being together, and it wasn’t going to work much longer.

The odd truth about Alfred was that love, for him, was a matter not of approaching but of keeping away. She understood this better than Chip and Gary did, and so she felt a particular responsibility for him.

To Chip, unfortunately, it seemed that Alfred cared about his children only to the degree that they succeeded. Chip was so busy feeling misunderstood that he never noticed how badly he himself misunderstood his father. To Chip, Alfred’s inability to be tender was the proof that Alfred didn’t know, or care, who he was. Chip couldn’t see what everyone around him could: that if there was anybody in the world whom Alfred did love purely for his own sake, it was Chip. Denise was aware of not delighting Alfred like this; they had little in common beyond formalities and achievements. Chip was the one whom Alfred had called for in the middle of the night, even though he knew Chip wasn’t there.

I made it as clear to you as I could, she told her idiot brother in her head as she crossed the snowy field. I can’t make it any clearer.

The house to which she returned was full of light. Gary or Enid had swept the snow from the front walk. Denise was scuffing her feet on the hemp mat when the door flew open.

“Oh, it’s you,” Enid said. “I thought it might be Chip.”

“No. Just me.”

She went in and pried her boots off. Gary had built a fire and was sitting in the armchair closest to it, a stack of old photo albums at his feet.

“Take my advice,” he told Enid, “and forget about Chip.”

“He must be in some sort of trouble,” Enid said. “Otherwise he would have called.”

“Mother, he’s a sociopath. Get it through your head.”

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