Читаем The Grapes of Wrath полностью

At last the roosters crowed, far away, and gradually the window lightened. Tom touched his swollen face with his fingertips, and at his movement Al groaned and murmured in his sleep.

The dawn came finally. In the houses, packed together, there was a sound of movement, a crash of breaking sticks, a little clatter of pans. In the graying gloom Ma sat up suddenly. Tom could see her face, swollen with sleep. She looked at the window, for a long moment. And then she threw the blanket off and found her dress. Still sitting down, she put it over her head and held her arms up and let the dress slide down to her waist. She stood up and pulled the dress down around her ankles. Then in bare feet, she stepped carefully to the window and looked out, and while she stared at the growing light, her quick fingers unbraided her hair and smoothed the strands and braided them up again. Then she clasped her hands in front of her and stood motionless for a moment.

Her face was lighted sharply by the window. She turned, stepped carefully among the mattresses, and found the lantern. The shade screeched up, and she lighted the wick.

Pa rolled over and blinked at her. She said, "Pa, you got more money?"

"Huh? Yeah. Paper wrote for sixty cents."

"Well, git up an' go buy some flour an' lard. Quick, now."

Pa yawned. "Maybe the store ain't open."

"Make 'em open it. Got to get somepin in you fellas. You got to get out to work."

Pa struggled into his overalls and put on his rusty coat. He went sluggishly out the door, yawning and stretching.

The children awakened and watched from under their blanket, like mice. Pale light filled the room now, but colorless light, before the sun.

Ma glanced at the mattresses. Uncle John was awake. Al slept heavily.

Her eyes moved to Tom. For a moment she peered at him, and then she moved quickly to him. His face was puffed and blue, and the blood was dried black on his lips and chin. The edges of the torn cheek were gathered and tight.

"Tom," she whispered, "what's the matter?"

"Sh!" he said. "Don't talk loud. I got in a fight."

"Tom!"

"I couldn' help it, Ma."

She knelt down beside him. "You in trouble?"

He was a long time answering. "Yeah," he said. "In trouble. I can't go out to work. I got to hide."

The children crawled near on their hands and knees, staring greedily.

"What's the matter'th him, Ma?"

"Hush!" Ma said. "Go wash up."

"We got no soap."

"Well, use water." "What's the matter'th Tom?"

"Now you hush. An' don't you tell nobody."

They backed away and squatted down against the far wall, knowing they would not be inspected.

Ma asked, "Is it bad?"

"Nose busted."

"I mean the trouble?"

"Yeah. Bad."

Al opened his eyes and looked at Tom. "Well, for Chris' sake! What was you in?"

"What's a matter?" Uncle John asked.

Pa clumped in. "They was open all right." He put a tiny bag of flour and his package of lard on the floor beside the stove. "'S'a matter?" he asked.

Tom braced himself on one elbow for a moment, and then he lay back.

"Jesus, I'm weak. I'm gonna tell ya once. So I'll tell all of ya. How 'bout the kids?"

Ma looked at them, huddled against the wall. "Go wash ya face."

"No," Tom said, "They got to hear. They got to know. They might blab if they don't know."

"What the hell is this?" Pa demanded.

"I'm a-gonna tell. Las' night I went out to see what all the yellin' was about. An' I come on Casy."

"The preacher?"

"Yeah, Pa. The preacher, on'y he was a-leadin' the strike. They come for him."

Pa demanded, "Who come for him?"

"I dunno. Same kinda guys that turned us back on the road that night.

Had pick handles." He paused. "They killed 'im. Busted his head. I was standin' there. I went nuts. Grabbed the pick handle." He looked bleakly back at the night, the darkness, the flashlights, as he spoke. "I—I clubbed a guy."

Ma's breath caught in her throat. Pa stiffened. "Kill 'im?" he asked softly.

"I—don't know. I was nuts. Tried to." Ma asked. "Was you saw?"

"I dunno. I dunno. I guess so. They had the lights on us."

For a moment Ma stared into his eyes. "Pa," she said, "break up some boxes. We got to get breakfas'. You got to go to work. Ruthie, Winfiel'. If anybody asts you—Tom is sick—you hear? If you tell—he'll—get sent to jail. You hear?"

"Yes, ma'am."

"Keep your eye on 'em, John. Don' let 'em talk to nobody." She built the fire as Pa broke the boxes that had held the goods. She made her dough, put a pot of coffee to boil. The light wood caught and roared its flame in the chimney.

Pa finished breaking the boxes. He came near to Tom. "Casy—he was a good man. What'd he wanta mess with that stuff for?"

Tom said dully, "They come to work for fi' cents a box."

"That's what we're a-gettin'."

"Yeah. What we was a-doin' was breakin' strike. They give them fellas two an' a half cents."

"You can't eat on that."

"I know," Tom said wearily. "That's why they struck. Well, I think they bust the strike las' night. We'll maybe be gettin' two an' a half cents today."

"Why, the sons-a-bitches—"

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Анри Барбюс (1873–1935) — известный французский писатель, лауреат престижной французской литературной Гонкуровской премии.Роман «Ад», опубликованный в 1908 году, является его первым романом. Он до сих пор не был переведён на русский язык, хотя его перевели на многие языки.Выйдя в свет этот роман имел большой успех у читателей Франции, и до настоящего времени продолжает там регулярно переиздаваться.Роману более, чем сто лет, однако он включает в себя многие самые животрепещущие и злободневные человеческие проблемы, существующие и сейчас.В романе представлены все главные события и стороны человеческой жизни: рождение, смерть, любовь в её различных проявлениях, творчество, размышления научные и философские о сути жизни и мироздания, благородство и низость, слабости человеческие.Роман отличает предельный натурализм в описании многих эпизодов, прежде всего любовных.Главный герой считает, что вокруг человека — непостижимый безумный мир, полный противоречий на всех его уровнях: от самого простого житейского до возвышенного интеллектуального с размышлениями о вопросах мироздания.По его мнению, окружающий нас реальный мир есть мираж, галлюцинация. Человек в этом мире — Ничто. Это означает, что он должен быть сосредоточен только на самом себе, ибо всё существует только в нём самом.

Анри Барбюс

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