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Rex opened his cigarette-case; it was empty. That at least gave him a pretext to slip away from the room for the purpose of refilling it; he would spare himself the drawn-out torture of watching that hopeless game played out to the bitter end. He backed away from the circle of absorbed watchers and made his way up a short stairway to a long, silent corridor of bedrooms, each with a guests' name written in a little square on the door. In the hush that reigned in this part of the house he could still hear the hateful click-click of the balls; if he waited for a few minutes longer he would hear the little outbreak of clapping and buzz of congratulation that would hail Strinnit's victory. On the alert tension of his nerves there broke another sound, the aggressive, wrath-inducing breathing of one who sleeps in heavy after-dinner slumber. The sound came from a room just at his elbow; the card on the door bore the announcement "Mrs. Thundleford." The door was just slightly ajar; Rex pushed it open an inch or two more and looked in. The august Teresa had fallen asleep over an illustrated guide to Florentine art-galleries; at her side, somewhat dangerously near the edge of the table, was a reading-lamp. If Fate had been decently kind to him, thought Rex, bitterly, that lamp would have been knocked over by the sleeper and would have given them something to think of besides billiard matches.

There are occasions when one must take one's Fate in one's hands. Rex took the lamp in his.

"Two hundred and thirty-seven, one hundred and fifteen." Strinnit was at the table, and the balls lay in good position for him; he had a choice of two fairly easy shots, a choice which he was never to decide. A sudden hurricane of shrieks and a rush of stumbling feet sent every one flocking to the door. The Dillot boy crashed into the room, carrying in his arms the vociferous and somewhat dishevelled Teresa Thundleford; her clothing was certainly not a mass of flames, as the more excitable members of the party afterwards declared, but the edge of her skirt and part of the table-cover in which she had been hastily wrapped were alight in a flickering, half-hearted manner. Rex flung his struggling burden on the billiard table, and for one breathless minute the work of beating out the sparks with rugs and cushions and playing on them with soda-water syphons engrossed the energies of the entire company.

"It was lucky I was passing when it happened," panted Rex; "some one had better see to the room, I think the carpet is alight."

As a matter of fact the promptitude and energy of the rescuer had prevented any great damage being done, either to the victim or her surroundings. The billiard table had suffered most, and had to be laid up for repairs; perhaps it was not the best place to have chosen for the scene of salvage operations; but then, as Clovis remarked, when one is rushing about with a blazing woman in one's arms one can't stop to think out exactly where one is going to put her.


The Bull


Tom Yorkfield had always regarded his half-brother, Laurence, with a lazy instinct of dislike, toned down, as years went on, to a tolerant feeling of indifference. There was nothing very tangible to dislike him for; he was just a blood-relation, with whom Tom had no single taste or interest in common, and with whom, at the same time, he had had no occasion for quarrel. Laurence had left the farm early in life, and had lived for a few years on a small sum of money left him by his mother; he had taken up painting as a profession, and was reported to be doing fairly well at it, well enough, at any rate, to keep body and soul together. He specialised in painting animals, and he was successful in finding a certain number of people to buy his pictures. Tom felt a comforting sense of assured superiority in contrasting his position with that of his half-brother; Laurence was an artist-chap, just that and nothing more, though you might make it sound more important by calling an animal painter; Tom was a farmer, not in a very big way, it was true, but the Helsery farm had been in the family for some generations, and it had a good reputation for the stock raised on it. Tom had done his best, with the little capital at his command, to maintain and improve the standard of his small herd of cattle, and in Clover Fairy he had bred a bull which was something rather better than any that his immediate neighbours could show. It would not have made a sensation in the judging-ring at an important cattle show, but it was as vigorous, shapely, and healthy a young animal as any small practical farmer could wish to possess. At the King's Head on market days Clover Fairy was very highly spoken of, and Yorkfield used to declare that he would not part with him for a hundred pounds; a hundred pounds is a lot of money in the small farming line, and probably anything over eighty would have tempted him.

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Шедевр «позднего» Джона Стейнбека. «Все, что я написал ранее, в известном смысле было лишь подготовкой к созданию этого романа», – говорил писатель о своем произведении.Роман, который вызвал бурю возмущения консервативно настроенных критиков, надолго занял первое место среди национальных бестселлеров и лег в основу классического фильма с Джеймсом Дином в главной роли.Семейная сага…История страстной любви и ненависти, доверия и предательства, ошибок и преступлений…Но прежде всего – история двух сыновей калифорнийца Адама Траска, своеобразных Каина и Авеля. Каждый из них ищет себя в этом мире, но как же разнятся дороги, которые они выбирают…«Ты можешь» – эти слова из библейского апокрифа становятся своеобразным символом романа.Ты можешь – творить зло или добро, стать жертвой или безжалостным хищником.

Джон Стейнбек , Джон Эрнст Стейнбек , О. Сорока

Проза / Зарубежная классическая проза / Классическая проза / Зарубежная классика / Классическая литература