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

The mare, prancing and whirling again, he held her with a touch of rein and threat of spur, and gazed after the four-footed silk that filled the road with shimmering white. He knew the significance of their presence. The time for kidding was approaching[18] and they were being brought down from their brush-pastures to the brood-pens and shelters for jealous care and generous feed through the period of increase. And as he gazed, in his mind, comparing, was a vision of all the best of Turkish and South African mohair he had ever seen, and his flock bore the comparison well. It looked good. It looked very good.

He rode on. From all about arose the clacking whir of manure-spreaders[19]. In the distance, on the low, easy-sloping hills, he saw team after team, and many teams, three to a team abreast, what he knew were his Shire mares, drawing the plows back and forth across, contour-plowing, turning the green sod of the hillsides to the rich dark brown of humus-filled earth so organic and friable that it would almost melt by gravity into fine-particled seed-bed. That was for the corn – and sorghum-planting for his silos. Other hill-slopes, in the due course of his rotation, were knee-high in barley; and still other slopes were showing the good green of burr clover and Canada pea[20].

Everywhere about him, large fields and small were arranged in a system of accessibility and workability that would have warmed the heart of the most meticulous efficiency-expert. Every fence was hog-tight and bull-proof, and no weeds grew in the shelters of the fences. Many of the level fields were in alfalfa. Others, following the rotations, bore crops planted the previous fall, or were in preparation for the spring-planting. Still others, close to the brood barns and pens, were being grazed by rotund Shropshire and French-Merino ewes, or were being hogged off by white Gargantuan brood-sows that brought a flash of pleasure in his eyes as he rode past and gazed.

He rode through what was almost a village, save that there were neither shops nor hotels. The houses were bungalows, substantial, pleasing to the eye, each set in the midst of gardens where stouter blooms, including roses, were out and smiling at the threat of late frost. Children were already astir, laughing and playing among the flowers or being called in to breakfast by their mothers.

Beyond, beginning at a half-mile distant to circle the Big House, he passed a row of shops. He paused at the first and glanced in. One smith was working at a forge. A second smith, a shoe fresh-nailed on the fore-foot of an elderly Shire mare that would disturb the scales at eighteen hundred weight, was rasping down the outer wall of the hoof to smooth with the toe of the shoe. Forrest saw, saluted, rode on, and, a hundred feet away, paused and scribbled a memorandum in the notebook he drew from his hip-pocket.

He passed other shops – a paint-shop, a wagon-shop, a plumbing shop, a carpenter-shop[21]. While he glanced at the last, a hybrid machine, half-auto, half-truck, passed him at speed and took the main road for the railroad station eight miles away. He knew it for the morning butter-truck freighting from the separator house the daily output of the dairy.

The Big House was the hub of the ranch organization. Half a mile from it, it was encircled by the various ranch centers. Dick Forrest, saluting continually his people, passed at a gallop the dairy center, which was almost a sea of buildings with batteries of silos and with litter carriers emerging on overhead tracks and automatically dumping into waiting manure-spreaders. Several times, business-looking men, college-marked, astride horses or driving carts, stopped him and conferred with him. They were foremen, heads of departments, and they were as brief and to the point as was he. The last of them, astride a Palomina three-year-old that was as graceful and wild as a half-broken Arab, was for riding by with a bare salute, but was stopped by his employer.

“Good morning, Mr. Hennessy, and how soon will she be ready for Mrs. Forrest?” Dick Forrest asked.

“I’d like another week,” was Hennessy’s answer. “She’s well broke now, just the way Mrs. Forrest wanted, but she’s over-strung and sensitive and I’d like the week more to set her in her ways.”

Forrest nodded concurrence, and Hennessy, who was the veterinary, went on:

“There are two drivers in the alfalfa gang I’d like to send down the hill.”

“What’s the matter with them?”

“One, a new man, Hopkins, is an ex-soldier. He may know government mules, but he doesn’t know Shires.”

Forrest nodded.

“The other has worked for us two years, but he’s drinking now, and he takes his hang-overs out on his horses[22] —”

“That’s Smith, old-type American, smooth-shaven, with a cast in his left eye?” Forrest interrupted.

The veterinary nodded.

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