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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“Jack, California is not the answer, it’s just not. You have to understand that,” said Amanda. “You won’t be happy.”

His expression was pained. “I’m tired of wonderful reviews and awards for my shelf, and then not even making enough money to support my family. All my family.” He glanced at Lou, and there appeared on his features an emotion that Amanda interpreted as shame. She wanted to lean across and hold him, tell him that he was the most wonderful man she had ever known. But she had told him that before, and they were still going to California.

“I can go back to teaching. That’ll give you the freedom to write. Long after we’re all gone, people will still be reading Jack Cardinal.”

“I’d like to go somewhere and be appreciated while I’m still alive.”

“You are appreciated. Or don’t we count?”

Jack looked surprised, a writer betrayed by his own words. “Amanda, I didn’t mean that. I’m sorry.”

Lou reached for her notebook. “Dad, I finished the story I was telling you about.”

Jack’s gaze held on Amanda. “Lou, your mother and I are talking.”

Amanda had been thinking about this for weeks, ever since he had told her of plans for a new life writing screenplays amid the sunshine and palm trees of California, for considerable sums of money. She felt he would be tarnishing his skills by putting into words the visions of others, substituting stories from his soul with those that would earn the most dollars.

“Why don’t we move to Virginia?” she said, and then Amanda held her breath.

Jack’s fingers tightened around the steering wheel. Outside there were no other cars, no lights other than the Zephyr’s. The sky was a long reef of suspect haze, no punctures of stars to guide them. They could have been driving over a flat, blue ocean, up and down exactly alike. One’s mind could easily be tricked by such a conspiracy of heavens and earth.

“What’s in Virginia?” His tone was very cautious.

Amanda clutched his arm in her growing frustration. “Your grandmother! The farm in the mountains. The setting for all those beautiful novels. You’ve written about it all your life and you’ve never been back. The children have never even met Louisa. My God, I’ve never met Louisa. Don’t you think it’s finally time?”

His mother’s raised voice startled Oz awake. Lou’s hand went out to him, covering his slight chest, transferring calm from her to him. It was an automatic thing now for Lou, for Amanda was not the only protector Oz had.

Jack stared ahead, clearly annoyed by this conversation. “If things work out like I’m planning, she’ll come and live with us. We’ll take care of her. Louisa can’t stay up there at her age.” He added grimly, “It’s too hard a life.”

Amanda shook her head. “Louisa will never leave the mountain. I only know her through the letters and what you’ve told me, but even I know that.”

“Well, you can’t always live in the past. And we’re going to California. We will be happy there.”

“Jack, you can’t really believe that. You can’t!”

Lou once more rocked forward. She was all elbows, neck, knees—slender limbs seemingly growing before her parents’ eyes.

“Dad, don’t you want to hear about my story?”

Amanda put a hand on Lou’s arm even as she gazed at a frightened Oz and tried to give him a reassuring smile, though reassurance was the last thing she was feeling. Now was clearly not the time for this discussion. “Lou, wait a minute, honey. Jack, we can talk later. Not in front of the kids.” She was suddenly very fearful of where this might actually go.

“What do you mean I can’t really believe that?” Jack said.

“Jack, not now.”

“You started this conversation, don’t blame me for wanting to finish it.”

“Jack, please—”

“Now, Amanda!”

She had never heard quite this tone, and instead of making her more afraid, it made her even angrier. “You hardly spend any time with the kids as it is. Always traveling, giving lectures, attending events. Everybody already wants a piece of Jack Cardinal, even if they won’t pay you for the privilege. Do you really think it’ll be better in California? Lou and Oz will never see you.”

Jack’s eyes, cheekbones, and lips formed a wall of defiance. When it came, his voice was filled with a potent combination of his own distress and the intent to inflict the same upon her. “Are you telling me I ignore my children?”

Amanda understood this tactic, but somehow still succumbed to it. She spoke quietly. “Maybe not intentionally, but you get so wrapped up in your writing—”

Lou almost vaulted over the front seat. “He does not ignore us. You don’t know what you’re talking about. You’re wrong! You’re wrong!”

Jack’s dense wall turned upon Lou. “You do not talk to your mother that way. Ever!”

Amanda glanced at Lou, but even as she tried to think of something conciliatory to say, her daughter proved swifter.

“Dad, this really is the best story I’ve ever written. I swear. Let me tell you how it starts.”

However, Jack Cardinal, for probably the only time in his life, was not interested in a story. He turned and stared directly at his daughter. Under his withering look, her face went from hope to savage disappointment faster than Amanda could take a breath.

“Lou, I said not now!”

Jack slowly turned back. He and Amanda saw the same thing at the same time, and it pulled the blood from both their faces. The man was leaning into the trunk of his stalled car. They were so close to him that in the headlights Amanda saw the square bulge of the man’s wallet in his back pocket. He wouldn’t even have time to turn, to see his death coming at him at fifty miles an hour.

“Oh my God,” Jack cried out. He cut the wheel hard to the left. The Zephyr responded with unexpected agility and actually missed the car, leaving the careless man to live another day. But now the Zephyr was off the road and onto sloped ground, and there were trees up ahead. Jack heaved the wheel to the right.

Amanda screamed, and reached out to her children as the car rocked uncontrollably. She could sense that even the bottom-heavy Zephyr would not maintain its balance.

Jack’s eyes were silver dollars of panic, his breath no longer coming up. As the car raced across the slick road and onto the dirt shoulder on the other side, Amanda lunged into the backseat. Her arms closed around her children, bringing them together, her body between them and all that was hard and dangerous about the car. Jack swung the wheel back the other way, but the Zephyr’s balance was gone, its brakes useless. The car missed a stand of what would have been unforgiving trees, but then did what Amanda had feared it would all along, it rolled.

As the top of the car slammed into the dirt, the driver’s door was thrown open, and like a swimmer lost in a sudden rip, Jack Cardinal was gone from them. The Zephyr rolled again, and clipped a tree, which slowed its momentum. Shattered glass cascaded over Amanda and the children. The sound of tearing metal mixed with their screams was terrible; the smell of freed gasoline and billowy smoke searing. And through every roll, impact, and pitch again, Amanda pinned Lou and Oz safely against the seat with a strength that could not be completely her own. She absorbed every blow, keeping it from them.

The steel of the Zephyr fought a fearsome battle with the hard-packed dirt, but the earth finally triumphed and the car’s top and right side buckled. One sharp-edged part caught Amanda on the back of her head, and then the blood came fast. As Amanda sank, the car, with one last spin, came to rest upside down, pointing back the way they had come.

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