Читаем The Sheltering Sky полностью

It was difficult to feed Port; much of the soup ran over his face and down his neck. “Maybe tomorrow you’ll feel like sitting up to eat,” she said as she wiped his mouth with a handkerchief. “Maybe,” he said feebly.

“Oh, my God!” she cried. She had overslept; the pills were long overdue. She gave them to him and had him wash them down with a swallow of tepid water. He made a face. “The water,” he said. She sniffed the carafe. It reeked of chlorine. She had put the Halazone tablets in twice by mistake. “It won’t hurt you,” she said.

She ate her food with relish: Zina was quite a good cook. While she was still eating, she looked over at Port and saw that he was already asleep. The pills seemed each time to have that effect. She thought of taking a short walk after the meal, but she was afraid that Captain Broussard might have given orders to the guards not to let her pass. She went out into the courtyard and walked around it several times, looking up at the stars. An accordion was being played somewhere at the other end of the fort; its sound was very faint. She went into the room, shut the door, locked it, undressed, and lay on her blankets beside Port’s mattress, pulling the lamp over near her head so she could read. But the light was not strong enough, and it moved too much, so that her eyes began to hurt, and the smell of it disgusted her. Reluctantly she blew out the flame, and the room fell back into the profoundest darkness. She had scarcely lain down before she sprang up again, and began to scrabble about the floor with her hand, searching for matches. She lit the lamp, which seemed to be smelling stronger than ever since she had blown it out, and said to herself, but moving her lips: “Every two hours. Every two hours.”

In the night she awoke sneezing. At first she thought it was the odor of the lamp, but then she put her hand to her face, and felt the grit on her skin. She moved her fingers along the pillow: it was covered with a coating of dust. Then she became conscious of the noise of the wind outside. It was like the roar of the sea. Fearful of waking Port, she tried to stifle the sneeze that was on its way; her effort was unsuccessful. She got up. It seemed cold in the room. She spread Port’s bathrobe over him. Then she got two large handkerchiefs out of a suitcase and tied one over the lower part of her face, bandit-fashion. The other one she intended to arrange for Port when she woke him up to give him his pills. It would be only another twenty minutes. She lay down, sneezing again as a result of the dust raised by moving the blankets. She lay perfectly still listening to the fury of the wind as it swept by outside the door.

“Here I am, in the middle of horror,” she thought, attempting to exaggerate the situation, in the hope of convincing herself that the worst had happened, was actually there with her. But it would not work. The sudden arrival of the wind was a new omen, connected only with the time to come. It began to make a singular, animal-like sound beneath the door. If she could only give up, relax, and live in the perfect knowledge that there was no hope. But there was never any knowing or any certitude; the time to come always had more than one possible direction. One could not even give up hope. The wind would blow, the sand would settle, and in some as yet unforeseen manner time would bring about a change which could only be terrifying, since it would not be a continuation of the present.

She remained awake the rest of the night, giving Port his pills regularly, and trying to relax in the periods between. Each time she woke him he moved obediently and swallowed the water and the tablet proffered him without speaking or even opening his eyes. In the pale, infected light of daybreak she heard him begin to sob. Electrified, she sat up and stared at the corner where his head lay. Her heart was beating very fast, activated by a strange emotion she could not identify. She listened a while, decided it was compassion she felt, and leaned nearer to him. The sobs came up mechanically, like hiccups or belches. Little by little the sensation of excitement died away, but she remained sitting up, listening intently to the two sounds together: the sobs inside the room and the wind without. Two impersonal, natural sounds. After a sudden, short silence she heard him say, quite distinctly: “Kit. Kit.” As her eyes grew wide she said: “Yes?” But he did not answer. After a long time, clandestinely, she slid back down under the blanket and fell asleep for a while. When she awoke the morning had really begun. The inflamed shafts of distant sunlight sifted down from the sky along with the air’s fine grit; the insistent wind seemed about to blow away what feeble strands of light there were.

Перейти на страницу:

Похожие книги

Вдребезги
Вдребезги

Первая часть дилогии «Вдребезги» Макса Фалька.От матери Майклу досталось мятежное ирландское сердце, от отца – немецкая педантичность. Ему всего двадцать, и у него есть мечта: вырваться из своей нищей жизни, чтобы стать каскадером. Но пока он вынужден работать в отцовской автомастерской, чтобы накопить денег.Случайное знакомство с Джеймсом позволяет Майклу наяву увидеть тот мир, в который он стремится, – мир роскоши и богатства. Джеймс обладает всем тем, чего лишен Майкл: он красив, богат, эрудирован, учится в престижном колледже.Начав знакомство с драки из-за девушки, они становятся приятелями. Общение перерастает в дружбу.Но дорога к мечте непредсказуема: смогут ли они избежать катастрофы?«Остро, как стекло. Натянуто, как струна. Эмоциональная история о безумной любви, которую вы не сможете забыть никогда!» – Полина, @polinaplutakhina

Максим Фальк

Современная русская и зарубежная проза
Земля
Земля

Михаил Елизаров – автор романов "Библиотекарь" (премия "Русский Букер"), "Pasternak" и "Мультики" (шорт-лист премии "Национальный бестселлер"), сборников рассказов "Ногти" (шорт-лист премии Андрея Белого), "Мы вышли покурить на 17 лет" (приз читательского голосования премии "НОС").Новый роман Михаила Елизарова "Земля" – первое масштабное осмысление "русского танатоса"."Как такового похоронного сленга нет. Есть вульгарный прозекторский жаргон. Там поступившего мотоциклиста глумливо величают «космонавтом», упавшего с высоты – «десантником», «акробатом» или «икаром», утопленника – «водолазом», «ихтиандром», «муму», погибшего в ДТП – «кеглей». Возможно, на каком-то кладбище табличку-времянку на могилу обзовут «лопатой», венок – «кустом», а землекопа – «кротом». Этот роман – история Крота" (Михаил Елизаров).Содержит нецензурную браньВ формате a4.pdf сохранен издательский макет.

Михаил Юрьевич Елизаров

Современная русская и зарубежная проза