Читаем The Little Lady of the Big House / Маленькая хозяйка большого дома. Книга для чтения на английском языке полностью

“Oh, nothing in that direction[152], Ernestine. Just as nice girls as you have tried to hook Evan Graham before now. And, between ourselves, I couldn’t blame them. But he’s had good wind and fast legs, and they’ve always failed to run him down or get him into a corner, where, dazed and breathless, he’s mechanically muttered ‘Yes’ to certain interrogatories and come out of the trance to find himself, roped, thrown, branded, and married. Forget him, Ernestine. Stick by golden youth and let it drop its golden apples. Pick them up, and golden youth with them, making a noise like stupid failure all the time you are snaring swift-legged youth. But Graham’s out of the running. He’s old like me – just about the same age – and, like me, he’s run a lot of those queer races[153]. He knows how to make a get-away. He’s been cut by barbed wire, nose-twitched, neck-burnt, cinched to a fare-you-well, and he remains subdued but uncatchable. He doesn’t care for young things. In fact, you may charge him with being wobbly, but I plead guilty, by proxy, that he is merely old, hard bitten, and very wise.”

Chapter IX

“Where’s my Boy in Breeches?” Dick shouted, stamping with jingling spurs through the Big House in quest of its Little Lady.

He came to the door that gave entrance to her long wing. It was a door without a knob, a huge panel of wood in a wood-paneled wall. But Dick shared the secret of the hidden spring with his wife, pressed the spring, and the door swung wide.

“Where’s my Boy in Breeches?” he called and stamped down the length of her quarters.

A glance into the bathroom, with its sunken Roman bath and descending marble steps, was fruitless, as were the glances he sent into Paula’s wardrobe room and dressing-room. He passed the short, broad stairway that led to her empty window-seat divan in what she called her Juliet Tower, and thrilled at sight of an orderly disarray of filmy, pretty, lacy woman’s things that he knew she had spread out for her own sensuous delight of contemplation. He fetched up for a moment at a drawing easel, his reiterant cry checked on his lips, and threw a laugh of recognition and appreciation at the sketch, just outlined, of an awkward, big-boned, knobby, weanling colt caught in the act of madly whinneying for its mother.

“Where’s my Boy in Breeches?” he shouted before him, out to the sleeping porch; and found only a demure, brow-troubled Chinese woman of thirty, who smiled self-effacing embarrassment into his eyes.

This was Paula’s maid, Oh Dear, so named by Dick, many years before, because of a certain solicitous contraction of her delicate brows that made her appear as if ever on the verge of saying, “Oh dear!” In fact, Dick had taken her, as a child almost, for Paula’s service, from a fishing village on the Yellow Sea where her widow-mother earned as much as four dollars in a prosperous year at making nets for the fishermen. Oh Dear’s first service for Paula had been aboard the three-topmast schooner, All Away, at the same time that Oh Joy, cabin-boy, had begun to demonstrate the efficiency that enabled him, through the years, to rise to the majordomoship of the Big House.

“Where is your mistress, Oh Dear?” Dick asked.

Oh Dear shrank away in an agony of bashfulness.

Dick waited.

“She maybe with ’m young ladies – I don’t know,” Oh Dear stammered; and Dick, in very mercy, swung away on his heel.

“Where’s my Boy in Breeches?” he shouted, as he stamped out under the porte cochère[154] just as a ranch limousine swung around the curve among the lilacs.

“I’ll be hanged if I know,” a tall, blond man in a light summer suit responded from the car; and the next moment Dick Forrest and Evan Graham were shaking hands.

Oh My and Oh Ho carried in the hand baggage, and Dick accompanied his guest to the watch tower quarters.

“You’ll have to get used to us, old man,” Dick was explaining. “We run the ranch like clockwork, and the servants are wonders; but we allow ourselves all sorts of loosenesses. If you’d arrived two minutes later there’d have been no one to welcome you but the Chinese boys. I was just going for a ride, and Paula – Mrs. Forrest – has disappeared.”

The two men were almost of a size[155], Graham topping his host by perhaps an inch, but losing that inch in the comparative breadth of shoulders and depth of chest. Graham was, if anything, a clearer blond than Forrest, although both were equally gray of eye, equally clear in the whites of the eyes, and equally and precisely similarly bronzed by sun and weather-beat. Graham’s features were in a slightly larger mold; his eyes were a trifle longer, although this was lost again by a heavier droop of lids. His nose hinted that it was a shade straighter as well as larger than Dick’s, and his lips were a shade thicker, a shade redder, a shade more bowed with fulsomeness.

Перейти на страницу:

Все книги серии Classical Literature (Каро)

Похожие книги

Один в Берлине (Каждый умирает в одиночку)
Один в Берлине (Каждый умирает в одиночку)

Ханс Фаллада (псевдоним Рудольфа Дитцена, 1893–1947) входит в когорту европейских классиков ХХ века. Его романы представляют собой точный диагноз состояния немецкого общества на разных исторических этапах.…1940-й год. Германские войска триумфально входят в Париж. Простые немцы ликуют в унисон с верхушкой Рейха, предвкушая скорый разгром Англии и установление германского мирового господства. В такой атмосфере бросить вызов режиму может или герой, или безумец. Или тот, кому нечего терять. Получив похоронку на единственного сына, столяр Отто Квангель объявляет нацизму войну. Вместе с женой Анной они пишут и распространяют открытки с призывами сопротивляться. Но соотечественники не прислушиваются к голосу правды – липкий страх парализует их волю и разлагает души.Историю Квангелей Фаллада не выдумал: открытки сохранились в архивах гестапо. Книга была написана по горячим следам, в 1947 году, и увидела свет уже после смерти автора. Несмотря на то, что текст подвергся существенной цензурной правке, роман имел оглушительный успех: он был переведен на множество языков, лег в основу четырех экранизаций и большого числа театральных постановок в разных странах. Более чем полвека спустя вышло второе издание романа – очищенное от конъюнктурной правки. «Один в Берлине» – новый перевод этой полной, восстановленной авторской версии.

Ханс Фаллада

Зарубежная классическая проза / Классическая проза ХX века
Африканский дневник
Африканский дневник

«Цель этой книги дать несколько картинок из жизни и быта огромного африканского континента, которого жизнь я подслушивал из всего двух-трех пунктов; и, как мне кажется, – все же подслушал я кое-что. Пребывание в тихой арабской деревне, в Радесе мне было огромнейшим откровением, расширяющим горизонты; отсюда я мысленно путешествовал в недра Африки, в глубь столетий, слагавших ее современную жизнь; эту жизнь мы уже чувствуем, тысячи нитей связуют нас с Африкой. Будучи в 1911 году с женою в Тунисии и Египте, все время мы посвящали уразуменью картин, встававших перед нами; и, собственно говоря, эта книга не может быть названа «Путевыми заметками». Это – скорее «Африканский дневник». Вместе с тем эта книга естественно связана с другой моей книгою, изданной в России под названием «Офейра» и изданной в Берлине под названием «Путевые заметки». И тем не менее эта книга самостоятельна: тему «Африка» берет она шире, нежели «Путевые заметки». Как таковую самостоятельную книгу я предлагаю ее вниманию читателя…»

Андрей Белый , Николай Степанович Гумилев

Публицистика / Классическая проза ХX века