Читаем The Good Lord Bird полностью

I know this was a whorehouse, but it weren’t bad at all. Fact is, I never knowed a Negro from that day to this but who couldn’t lie to themselves about their own evil while pointing out the white man’s wrong, and I weren’t no exception. Miss Abby was a slaveholder true enough, but she was a good slaveholder. She was a lot like Dutch. She runned a lot of businesses, which meant the businesses mostly runned her. Whoring was almost a sideline for her. She also runned a sawmill, a hog pen, a slave pen, kept a gambling house, had a tin-making machine, plus she was in competition with the tavern across the street that didn’t have a colored slave like Pie to bring in money, for Pie was her main attraction. I was right at home in her place, living ’round gamblers and pickpockets who drank rotgut and pounded each other’s brains out over card games. I was back in bondage, true, but slavery ain’t too troublesome when you’re in the doing of it and growed used to it. Your meals is free. Your roof is paid for. Somebody else got to bother themselves about you. It was easier than being on the trail, running from posses and sharing a roasted squirrel with five others while the Old Man was hollering over the whole roasted business to the Lord for an hour before you could even get to the vittles, and even then there weren’t enough meat on it to knock the edges off the hunger you was feeling. I was living well and clean forgot about Bob. Just plain forgot about him.

But you could see the slave pen from Pie’s window. They had couple of huts back there, a canvas cover that stretched over part of it that was fenced all ’round, and once in a while, between my scamperings ’round working, I’d stop, scratch out a clean spot on the glass, and take a peek. If it weren’t raining, you could see the colored congregated and bunched up out in the yard near a little garden they put together. Otherwise, if it was raining or cold, they stayed under the canvas. From time to time I’d take a look out the window to see if I could spot old Bob. Never could, and after a few weeks I got to wondering about him. I spoke to Pie about it one afternoon while she sat on her bed combing her hair.

“Oh, he’s around,” she said. “Miss Abby ain’t sold him. Let him be, darling.”

“I thought I might bring him some victuals to eat.”

“Leave them niggers in the yard alone,” she said. “They’re trouble.”

I found that confusing, for they done her no wrong, and nothing they could do would hurt Pie’s game. She was right popular. Miss Abby gived her the run of the place, let her choose her own customers more or less, and live as she wanted. Pie even closed down the saloon at times. Them coloreds couldn’t hurt her game. But I kept quiet on it, and one evening I couldn’t stand it no more. I slipped down to the slave pen to see about Bob.

The slave pen was in an alley behind the hotel, right off the dining room back door. Soon as you opened that door you stepped into an alley, and two steps across it and you was there. It was a penned-in area, and beside it was a little open area in the back where the colored set on crates, played cards, and had a little vegetable garden. Behind that was a hog pen, which opened right to the colored pen for easy tending of Miss Abby’s hogs.

Inside both them pens combined—the pen where they fed the pigs and the pen where the slaves lived and kept a garden—I reckon it was about twenty men, women, and children in there. Up close it weren’t the same sight that it was from above, and right then I knowed why Pie kept away and wanted me off from it. It was evening, for most of ’em was out working during the day, and the dusk settling on that place, and the swill of them Negroes—most of ’em dark-skinned, pure Negroes like Bob—was downright troubling. The smell of the place was infernal. Most was dressed in mostly rags and some without shoes. They wandered ’round the pen, some setting, doing nothing, others fooling ’round a bit in the garden, and there in the middle of ’em, they kinda circled ’round a figure, a wild woman cackling and babbling like a chicken. She sounded like her mind was a little soft, babbling like she was, but I couldn’t make out no words.

I walked to the fence. Several men and women were working along the back end of it, feeding hogs and tending the garden there, and when they seed me they glanced up, but never stopped working. It was twilight now. Just about dark. I stuck my face to the fence and said, “Anybody see Bob?”

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Павел Павлович Муратов (1881 – 1950) – писатель, историк, хранитель отдела изящных искусств и классических древностей Румянцевского музея, тонкий знаток европейской культуры. Над книгой «Образы Италии» писатель работал много лет, вплоть до 1924 года, когда в Берлине была опубликована окончательная редакция. С тех пор все новые поколения читателей открывают для себя муратовскую Италию: "не театр трагический или сентиментальный, не книга воспоминаний, не источник экзотических ощущений, но родной дом нашей души". Изобразительный ряд в настоящем издании составляют произведения петербургского художника Нади Кузнецовой, работающей на стыке двух техник – фотографии и графики. В нее работах замечательно переданы тот особый свет, «итальянская пыль», которой по сей день напоен воздух страны, которая была для Павла Муратова духовной родиной.

Павел Павлович Муратов

Биографии и Мемуары / Искусство и Дизайн / История / Историческая проза / Прочее