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

Evan Graham was slow in getting ready for bed that night. He was unwontedly stirred both by the Big House and by the Little Lady who was its mistress. As he sat on the edge of the bed, half-undressed, and smoked out a pipe, he kept seeing her in memory, as he had seen her in the flesh the past twelve hours, in her varied moods and guises – the woman who had talked music with him, and who had expounded music to him to his delight; who had enticed the sages into the discussion and abandoned him to arrange the bridge tables for her guests; who had nestled in the big chair as girlish as the two girls with her; who had, with a hint of steel, quelled her husband’s obstreperousness when he had threatened to sing Mountain Lad’s song; who, unafraid, had bestridden the half-drowning stallion in the swimming tank; and who, a few hours later, had dreamed into the dining-room, distinctive in dress and person, to meet her many guests.

The Big House, with all its worthy marvels and bizarre novelties, competed with the figure of Paula Forrest in filling the content of his imagination. Once again, and yet again, many times, he saw the slender fingers of Dar Hyal weaving argument in the air, the black whiskers of Aaron Hancock enunciating Bergsonian dogmas, the frayed coat-cuffs of Terrence McFane articulating thanks to God for the two-legged work-beasties that enabled him to loaf at Dick Forrest’s board and under Dick Forrest’s madroño trees.

Graham knocked out his pipe, took a final sweeping survey of the strange room which was the last word in comfort, pressed off the lights, and found himself between cool sheets in the wakeful dark. Again he heard Paula Forrest laugh; again he sensed her in terms of silver and steel and strength; again, against the dark, he saw that inimitable knee-lift of her gown. The bright vision of it was almost an irk to him, so impossible was it for him to shake it from his eyes. Ever it returned and burned before him, a moving image of light and color that he knew to be subjective but that continually asserted the illusion of reality.

He saw stallion and rider sink beneath the water, and rise again, a flurry of foam and floundering of hoofs, and a woman’s face that laughed while she drowned her hair in the drowning mane of the beast. And the first ringing bars of the Prelude sounded in his ears as again he saw the same hands that had guided the stallion lift the piano to all Rachmaninoff ’s pure splendor of sound.

And when Graham finally fell asleep, it was in the thick of marveling over the processes of evolution that could produce from primeval mire and dust the glowing, glorious flesh and spirit of woman.

Chapter XII

The next morning Graham learned further the ways of the Big House. Oh My had partly initiated him in particular things the preceding day and had learned that, after the waking cup of coffee, he preferred to breakfast at table, rather than in bed. Also, Oh My had warned him that breakfast at table was an irregular affair, anywhere between seven and nine, and that the breakfasters merely drifted in at their convenience[210]. If he wanted a horse, or if he wanted a swim or a motor car, or any ranch medium or utility he desired, Oh My informed him, all he had to do was to call for it.

Arriving in the breakfast-room at half past seven, Graham found himself just in time to say good-bye to the Gazette man and the Idaho buyer, who, finishing, were just ready to catch the ranch machine that connected at Eldorado with the morning train for San Francisco. He sat alone, being perfectly invited by a perfect Chinese servant to order as he pleased, and found himself served with his first desire – an ice-cold, sherried grapefruit, which, the table-boy proudly informed him, was “grown on the ranch.” Declining variously suggested breakfast foods, mushes, and porridges, Graham had just ordered his soft-boiled eggs and bacon, when Bert Wainwright drifted in with a casualness that Graham recognized as histrionic, when, five minutes later, in boudoir cap and delectable negligee, Ernestine Desten drifted in and expressed surprise at finding such a multitude of early risers.

Later, as the three of them were rising from table, they greeted Lute Desten and Rita Wainwright arriving. Over the billiard table with Bert, Graham learned that Dick Forrest never appeared for breakfast, that he worked in bed from terribly wee small hours[211], had coffee at six, and only on unusual occasions appeared to his guests before the twelve-thirty lunch. As for Paula Forrest, Bert explained, she was a poor sleeper, a late riser, lived behind a door without a knob in a spacious wing with a rare and secret patio that even he had seen but once, and only on infrequent occasion was she known to appear before twelve-thirty, and often not then.

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