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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“I’d like to read to my mom,” said Lou.

Cotton said, “That’s the finest idea I’ve ever heard.”

“Why is it a fine idea?” she demanded. “I really need to know.”

“Well, if someone she knew, someone she . . . loved would read to her, it might make all the difference.”

“Do you really think she knows?”

“When I carried your mother outside that day, I was holding a living person fighting like the devil to get out. I could feel it. And she will one day. I believe it with all my heart, Lou.”

She shook her head. “It’s hard, Cotton. To let yourself love something you know you may never have.”

Cotton nodded slowly. “You’re wise beyond your years. And what you say makes perfect sense. But I think when it comes to matters of the heart, perfect sense may be the last thing you want to listen to.”

Lou let the rest of the needles fall and wiped her hands clean. “You’re a good man too, Cotton.”

He put his arm around her and they sat there together, neither one of them willing to look at the blackened, swollen cavity of the coal mine that had taken their friend from them forever.

CHAPTER THIRTY

There was enough steady rain, and some thunderstorms added to the plenty, such that virtually all the crops came in healthy and in abundance. One fierce hailstorm damaged some of the corn, but not to any great extent. A stretch of powerful rain did wash a gully out of a hill, like a scoop of ice cream, but no person, animal, or crop was hurt by it.

Harvesting time was full upon them, and Louisa, Eugene, Lou, and Oz worked hard and long, which was good, because it gave them little time to think about Diamond not being with them anymore. Occasionally they would hear the mine siren, and then a bit later the slow rumbling of the explosion would come. And each time Louisa would lead them all in a song to take their minds off Diamond’s having been killed by such an awful thing.

Louisa did not speak much of Diamond’s passing. Yet Lou noted that she read her Bible a lot more often by the firelight, and her eyes swelled with tears whenever his name was mentioned, or when she looked at Jeb. It was hard for all of them, yet all they could do was keep going, and there was much to do.

They harvested the pinto beans, cast them in Chop bags, stomped them to get the husks off, and had them for dinner every night with gravy and biscuits. They picked the pole beans, which had grown up around the cornstalks, careful, as Louisa schooled them, to avoid the green stinger worms that lived under the leaves. They scythed the cornfield and bundled the cornstalks into shocks, which they stood in the field, and which would later be used for livestock feed. They shucked the corn, hauled it by sled to the corncrib, and filled it to almost overflowing. From a distance the tumble of cobs looked like yellowjackets at frenzied play.

The potatoes came in thick and fat, and with churned butter were a meal by themselves. The tomatoes came in too, plump and blood red, eaten whole or sliced, and also cut up and canned in jars in a great iron kettle on the stove, along with beans and peppers and many other vegetables. They stacked the jars in the foodsafe and under the stairs. They filled lard buckets with wild strawberries and gooseberries, and apples by the bushel, made jams and pies, and canned the rest. They ground down the cane stalks and made molasses, and shelled some of the corn and made cornmeal and fried crackling bread.

It seemed to Lou that nothing was wasted; it was an efficient process and she admired it, even as she and Oz worked themselves to near death from before sunup to long after sundown. Everywhere they turned with tool or hand, food was flying at them. This made Lou think of Billy Davis and his family having nothing to eat. She thought about it so much she talked to Louisa about it.

“You stay up tomorrow night, Lou, and you’ll find that you and me thinking on the same line.”

All of them were waiting by the barn late that night when they heard a wagon coming down the road. Eugene held up a lantern and the light fell upon Billy Davis as he pulled the mules to a halt and nervously stared at Lou and Oz.

Louisa approached the wagon. “Billy, I thought we might need some help. I want’a make sure you get a good load. Land been real fine to us this year.”

Billy looked embarrassed for a moment, but then Lou said, “Hey, Billy, come on, I’m going to need your muscle to lift this bucket.”

Thus encouraged, Billy jumped down to help. They all spent a solid hour loading bags of cornmeal, canning jars full of beans and tomatoes, and buckets of rutabagas, collards, cucumbers, potatoes, apples, plump cabbages, pears, sweet potatoes, onions, and even some cuts of salted hog meat on that wagon.

While Lou was loading, she saw Louisa take Billy to a corner of the barn and look at his face with a lantern. Then she had him raise his shirt, and she did an examination there and came away apparently satisfied.

When Billy turned the wagon around and left, the mules strained under the new weight, and the boy carried a big smile as he flicked the whip and disappeared into the night.

“They can’t hide all that food from George Davis,” Lou said.

“I been doing this many a year now. Man never once fretted about where the bounty come from.”

Lou looked angry. “That’s not fair. He sells his crop and makes money, and we feed his family.”

“What’s fair is a momma and her children eating good,” answered Louisa.

“What were you checking for under his shirt?” asked Lou.

“George is smart. Most times hits where the clothing covers.”

“Why didn’t you just ask Billy if he had hit him?”

“Just like an empty lunch pail, children will lie when they shamed.”

With all their surplus, Louisa decided the four would drive the wagon laden with crops down to the lumber camp. On the day of the trip Cotton came over to look after Amanda. The lumber folks were expecting them, for quite a crowd had gathered by the time they arrived. The camp was large, with its own school, store, and post office. Because the camp was forced to move frequently when forests had been exhausted, the entire town was on rails, including the workers’ homes, the school, and the store. They were laid out on various spurs like a neighborhood. When a move was called for, the locomotives hooked up to the cars and off the entire town went in short order.

The lumber camp families paid for the crops either with cash money or with barter items, such as coffee, sugar, toilet paper, stamps, pencils and paper, some throw-off clothes and shoes, and old newspapers. Lou had ridden Sue down, and she and Oz took turns giving the camp children rides free of charge, but the patrons could “donate” peppermint sticks and other delicacies if they saw fit, and many did.

Later, from atop the sharp spine of a ridge, they looked down where a shaft of the McCloud River flowed. A splashdam of stone and wood had been created downriver, artificially backing the water up and covering boulders and other obstructions that made log transport by river difficult. Here the water was filled bank to bank with trees, mostly mighty poplar, the bottoms of the trunks scored with the lumber company’s brand. They looked like pencils from this great height, but then Oz and Lou noted that the small specks on each of them were actually full-grown men riding the logs. They would float down to the splashdam, where a vital wedge would be kicked out, and the thundering water would carry the trees downriver, where they would be tied off and Virginia logs would ride on to Kentucky markets.

As Lou surveyed the land from this high perch, something seemed to be missing. It took her a moment to realize that what was absent was the trees. As far as she could see, there were just stumps. When they went back down to the camp, she also noted that some of the rail lines were empty.

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