Дэвид Балдаччи - Wish You Well

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Precocious 12-year-old Louisa Mae Cardinal lives in the hectic New York City of 1940 with her family. Then tragedy strikes--and Lou and her younger brother, Oz, must go with their invalid mother to live on their great- grandmother's farm in the Virginia mountains.
Suddenly Lou finds herself coming of age in a new landscape, making her first true friend, and experiencing adventures tragic, comic, and audacious. But the forces of greed and justice are about to clash over her new home . . . and as their struggle is played out in a crowded Virginia courtroom, it will determine the future of two children, an entire town, and the mountains they love.
### Amazon.com Review
David Baldacci has made a name for himself crafting big, burly legal thrillers with larger-than-life plots. However, *Wish You Well* , set in his native Virginia, is a tale of hope and wonder and "something of a miracle" just itching to happen. This shift from contentious urbanites to homespun hill families may come as a surprise to some of Baldacci's fans--but they can rest assured: the author's sense of pacing and exuberant prose have made the leap as well.
The year is 1940. After a car accident kills 12-year-old Lou's and 7-year-old Oz's father and leaves their mother Amanda in a catatonic trance, the children find themselves sent from New York City to their great-grandmother Louisa's farm in Virginia. Louisa's hardscrabble existence comes as a profound shock to precocious Lou and her shy brother. Still struggling to absorb their abandonment, they enter gamely into a life that tests them at every turn--and offers unimaginable rewards. For Lou, who dreams of following in her father's literary footsteps, the misty, craggy Appalachians and the equally rugged individuals who make the mountains their home quickly become invested with an almost mythic significance:
> They took metal cups from nails on the wall and dipped them in the water, and then sat outside and drank. Louisa picked up the green leaves of a mountain spurge growing next to the springhouse, which revealed beautiful purple blossoms completely hidden underneath. "One of God's little secrets," she explained. Lou sat there, cup cradled between her dimpled knees, watching and listening to her great-grandmother in the pleasant shade...
Baldacci switches deftly between lovingly detailed character description (an area in which his debt to Laura Ingalls Wilder and Harper Lee seems evident) and patient development of the novel's central plot. If that plot is a trifle transparent--no one will be surprised by Amanda's miraculous recovery or by the children's eventual battle with the nefarious forces of industry in an attempt to save their great-grandmother's farm--neither reader nor character is the worse for it. After all, nostalgia is about remembering things one already knows. *--Kelly Flynn*
### From Publishers Weekly
Baldacci is writing what? That waspish question buzzed around publishing circles when Warner announced that the bestselling author of The Simple Truth, Absolute Power and other turbo-thrillers—an author generally esteemed more for his plots than for his characters or prose—was trying his hand at mainstream fiction, with a mid-century period novel set in the rural South, no less. Shades of John Grisham and A Painted House. But guess what? Clearly inspired by his subject—his maternal ancestors, he reveals in a foreword, hail from the mountain area he writes about here with such strength—Baldacci triumphs with his best novel yet, an utterly captivating drama centered on the difficult adjustment to rural life faced by two children when their New York City existence shatters in an auto accident. That tragedy, which opens the book with a flourish, sees acclaimed but impecunious riter Jack Cardinal dead, his wife in a coma and their daughter, Lou, 12, and son, Oz, seven, forced to move to the southwestern Virginia farm of their aged great-grandmother, Louisa. Several questions propel the subsequent story with vigor. Will the siblings learn to accept, even to love, their new life? Will their mother regain consciousness? And—in a development that takes the narrative into familiar Baldacci territory for a gripping legal showdown—will Louisa lose her land to industrial interests? Baldacci exults in high melodrama here, and it doesn't always work: the death of one major character will wring tears from the stoniest eyes, but the reappearance of another, though equally hanky-friendly, is outright manipulative. Even so, what the novel offers above all is bone-deep emotional truth, as its myriad characters—each, except for one cartoonish villain, as real as readers' own kin—grapple not just with issues of life and death but with the sufferings and joys of daily existence in a setting detailed with finely attuned attention and a warm sense of wonder. This novel has a huge heart—and millions of readers are going to love it. Agent, Aaron Priest. 600,000 first printing; 3-city author tour; simultaneous Time Warner Audiobook; foreign rights sold in the U.K., Bulgaria, Italy, Germany, Denmark, Norway, Sweden, Holland, Turkey; world Spanish rights sold. (One-day laydown, Oct. 24)
Copyright 2000 Reed Business Information, Inc.

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Louisa poured herself a cup and said, “So what’d you find out from them fellers?”

“Your grandson didn’t have a will, Louisa. Not that it mattered much, because he also didn’t have any money.”

Louisa looked bewildered. “With all his fine writing?”

Cotton nodded. “As wonderful as they were, the books didn’t sell all that well. He had to take on other writing assignments to make ends meet. Also, Oz had some health problems when he was born. Lot of expenses. And New York City is not exactly cheap.”

Louisa looked down. “And that ain’t all,” she said. He looked at her curiously. “Jack sent me money all these years, he did. I wrote him back once, told him it weren’t right for him to be doing it. Got his own family and all. But he say he were a rich man. He told me that! Wanted me to have it, he say, after all I done for him. But I ain’t really done nothing.”

“Well, it seems Jack was planning to go write for a movie studio in California when the accident happened.”

“California?” Louisa said the word like it was a malignancy, and then sat back and sighed. “That little boy always run circles round me. But giving me money when he ain’t got it. And curse me for taking it.” She stared off for a bit before speaking again. “I got me a problem, Cotton. Last three years of drought and ain’t no crops come in. Down to five hogs and gotta butcher me one purty soon. Got me three sows and one boar left over. Last litter more runts than anythin’. Three passable milking cows. Had one studded out, but she ain’t dropped her calf yet and I getting right worried. And Bran got the fever. Sheep getting to be more bother than anything. And that old nag ain’t do a lick of work no more, and eats me out of house and home. And yet that old girl done worked herself to death all these years for me.” She paused and drew a breath. “And McKenzie on down at the store, he ain’t giving no more credit to us folk up here.”

“Hard times, Louisa, no denying that.”

“I know I can’t complain none, this old mountain give me all it can over the years.”

Cotton hunched forward. “Well, the one thing you do have, Louisa, is land. Now, there’s an asset.”

“Can’t sell it, Cotton. When time comes, it’ll go to Lou and Oz. Their daddy loved this place as much as me. And Eugene too. He my family. He work hard. He getting some of this land so’s he can have his own place, raise his own family. Only fair.”

Cotton said, “I think so too.”

“When them folks wrote to see if’n I’d take the children, how could I not? Amanda’s people all gone, I’m all they got left. And a sorry savior I am, long past being worth a spit for farming.” Her fingers clustered nervously together, and she stared anxiously out the window. “I been thinking ’bout them all these years, wondering what they was like. Reading Amanda’s letters, seeing them pictures she sent. Just busting with pride over what Jack done. And them beautiful children.” She let out a troubled sigh, the deeply cut wrinkles on her long forehead like tiny furrows in a field.

Cotton said, “You’ll get by, Louisa. You need me for anything, come up and help with the planting, the children, you just let me know. I’d be beyond proud to help you.”

“G’on now, Cotton, you a busy lawyer.”

“Folks up here don’t have much need for the likes of me. And maybe that’s not such a bad thing. Got a problem, go down to Judge Atkins over the courthouse and just talk it out. Lawyers just make things complicated.” He smiled and patted her hand. “It’ll be okay, Louisa. Those children being here with you is the right thing. For everybody.”

Louisa smiled, and then her expression slowly changed to a frown. “Cotton, Diamond said some men coming round folks’ coal mines. Don’t like that.”

“Surveyors, mineral experts, so I’ve heard.”

“Ain’t they cutting the mountains up fast enough? Make me sick ever’ time I see another hole. I never sell out to the coal folk. Rip all that’s beautiful out.”

“I’ve heard these folks are looking for oil, not coal.”

“Oil!” she said in disbelief. “This ain’t Texas.”

“Just what I’ve heard.”

“Can’t worry about that nonsense.” She stood. “You right, Cotton, it’ll be just fine. Lord’ll give us rain this year. If not, well, I figger something out.”

As Cotton rose to leave, he looked back down the hallway. “Louisa, do you mind if I stop in and pay my respects to Miss Amanda?”

Louisa thought about this. “Another voice might do her good. And you got a nice way about you, Cotton. How come you ain’t never married?”

“I’ve yet to find the good woman who could put up with the sorry likes of me.”

In Amanda’s room, Cotton put down his briefcase and hat and quietly approached the bed. “Miss Cardinal, I’m Cotton Longfellow. It’s a real pleasure to meet you. I feel like I know you already, for Louisa has read me some of the letters you sent.” Amanda of course moved not one muscle, and Cotton looked over at Louisa.

“I been talking to her. Oz too. But she ain’t never say nothing back. Don’t never even wiggle a finger.”

“And Lou?” asked Cotton.

Louisa shook her head. “That child’s gonna bust one day, all she keep inside.”

“Louisa, it might be a good idea to have Travis Barnes from Dickens come up and look at Amanda.”

“Doctors cost money, Cotton.”

“Travis owes me a favor. He’ll come.”

Louisa said quietly, “I thank you.”

He looked around the room and noted a Bible on the dresser. “Can I come back?” he asked. Louisa looked at him curiously. “I thought I might, well, that I might read to her. Mental stimulation. I’ve heard of such. There are no guarantees. But if I can do nothing else well, I can read.”

Before Louisa could answer, Cotton looked at Amanda. “It’ll be my real privilege to read to you.”

CHAPTER FOURTEEN

As dawn broke, Louisa, Eugene, Lou, and Oz stood in one of the fields. Hit, the mule, was harnessed on a singletree to a plow with a turnover blade.

Lou and Oz had already had their milk and cornbread in gravy for breakfast. The food was good, and filling, but eating by lantern light had already grown old. Oz had gathered chicken eggs while Lou had milked the two healthy cows under Louisa’s watchful eye. Eugene had split wood, and Lou and Oz had hauled it in for the cookstove and then carried buckets of water for the animals. Livestock had been turned out and hay dropped for them. And now, apparently, the real work was about to begin.

“Got to plow unner this whole field,” said Louisa.

Lou sniffed the air. “What’s that awful smell?”

Louisa bent down, picked up some earth, and crumbled it between her fingers. “Manure. Muck the stalls ever fall, drop it here. Makes rich soil even better.”

“It stinks,” said Lou.

Louisa let the bits of dirt in her hand swirl away in the morning breeze as she stared pointedly at the girl. “You’ll come to love that smell.”

Eugene handled the plow while Louisa and the children walked beside him.

“This here’s a turnover blade,” Louisa said, pointing to the oddly shaped disc of metal. “You run it down one row, turn mule and plow round, kick the blade over, go down the row again. Throws up same furrows of dirt on both sides. It kicks up big clods of earth too. So’s after we plow, we drag the field to break up the clods. Then we harrow, makes the dirt real smooth. Then we use what’s called a laid-off plow. Gives you fine rows. Then we plant.”

She had Eugene plow one row to show them how, and then Louisa kicked at the plow. “You look purty strong, Lou. You want’a give it a go?”

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