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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These people would stare, smile nervously, and then move on to “rejoice” with someone else of a more understanding nature.

Next, they were to go to the grave-site service where the priest would no doubt say more uplifting words, bless the children, sprinkle his sacred dirt; and then another six feet of ordinary fill would be poured in, closing this terribly odd spectacle. Death must have its ritual, because society says it must. Lou did not intend to rush to it, for she had a more pressing matter to attend to right now.

The same two men were in the grassy parking lot. Freed from ecclesiastical confines, they were debating in normal voices the future of what remained of the Cardinal family.

“Wish to God Jack hadn’t named us as executors,” said the older man as he pulled a pack of cigarettes from his shirt pocket. He lit up and then pressed the match flame out between his thumb and forefinger. “Figured I’d be long dead by the time Jack checked out.”

The younger man looked down at his polished shoes and said, “We just can’t leave them like this, living with strangers. The kids need someone.”

The other man puffed his smoke and gazed off after the bubble-topped hearse. Up above, a flock of blackbirds seemed to form a loose squadron, an informal sendoff for Jack Cardinal. The man flicked ash. “Children belong with their family. These two just don’t happen to have any left.”

“Excuse me.”

When they turned, they saw Lou and Oz staring at them.

“Actually, we do have family,” Lou said. “Our great-grandmother, Louisa Mae Cardinal. She lives in Virginia. It’s where my father grew up.”

The younger man looked hopeful, as though the burden of the world, or at least of two children, might still be shed from his narrow shoulders. The older man, though, looked suspicious.

“Your great-grandmother? She’s still alive?” he asked.

“My parents were just talking about us moving to Virginia to be with her before the accident.”

“Do you know if she’ll take you?” the younger man eagerly wanted to know.

“She’ll take us” was Lou’s immediate reply, though in truth she had no idea at all if the woman would.

“All of us?” This question came from Oz.

Lou knew her little brother was thinking of their wheelchair-bound mother. She said in a very firm voice to the two men, “All of us.”

CHAPTER FOUR

As Lou stared out the window of the train, it occurred to her that she had never really cared that much for New York City. It was true that during her childhood she had sampled many of its eclectic offerings, filling her days with trips to museums, zoos, and theaters. She had towered over the world on the observation deck of the Empire State Building, laughed and cried at the antics of the city dwellers trapped in glee or doom, observed scenes of emotional intimacy and witnessed passionate displays of public outcry. She had made some of these treks with her father, who had so often told her that the choice to be a writer was not the mere selection of an occupation, but rather the choice of an all-consuming lifestyle. And the business of a writer, he carefully pointed out, was the business of life, in both its uplifting glory and its complex frailty. And Lou had been privy to the results of such observations, as she had been enthralled by the readings and musings of some of the most skillful writers of the day, many in the privacy of the Cardinals’ modest two-bedroom walkup in Brooklyn.

And their mother had taken her and Oz to all the boroughs of the city, gradually immersing them in various economic and social levels of urban civilization, for Amanda Cardinal was a very well-educated woman intensely curious about such things. The children had received a well-rounded education that had made Lou both respect and remain ever curious about her fellow human beings.

Still, with all that, she had never really become that excited about the city. Where she was going now, that she was very eager about. Despite living in New York City for most of his adult life, where he was surrounded by a large supply of story material that other writers had culled with critical and financial success over the years, Jack Cardinal had chosen to base all his novels upon the place the train was carrying his family to: the mountains of Virginia that rose high in the toe of the state’s topographical boot. Since her beloved father had deemed the place worthy of his life’s work, Lou had little difficulty in deciding to go there now.

She moved aside so that Oz could look out the window too. If ever hope and fear could be compressed into one emotion and displayed on a single face, they were now on the little boy’s. With any given breath, Oz Cardinal looked like he might either laugh till his ribs pushed through his chest, or else faint dead away from utter terror. Lately, though, there had only been tears.

“It looks smaller from here,” he commented, inclining his head at the fast-receding city of artificial lights and concrete blocks stacked around welded threads of steel.

Lou nodded in agreement. “But wait until you see the Virginia mountains—now, they’re big. And they stay like that, however you look at them.”

“How do you know? You’ve never seen those mountains.”

“Of course I have. In books.”

“Do they look all that big on paper?”

If Lou hadn’t known better, she would have thought Oz was being smart, but she knew her brother did not possess even a mildly wicked bone in his whole being.

“Trust me, Oz, they’re big. And I’ve read about them in Dad’s books too.”

“You haven’t read all of Dad’s books. He said you weren’t old enough.”

“Well, I’ve read one of them. And he read parts of all the others to me.”

“Did you talk to that woman?”

“Who? Louisa Mae? No, but the people who wrote to her said she really wanted us to come.”

Oz pondered this. “That’s a good thing, I guess.”

“Yes, it is.”

“Does she look like Dad?”

This stumped his sister. “I can’t say I’ve ever seen a picture of her.”

It was clear this answer troubled Oz. “Do you think she’s maybe mean and scary-looking? If she is, can’t we come back home?”

“Virginia is our home now, Oz.” Lou smiled at him. “She won’t be scary-looking. And she won’t be mean. If she were, she never would have agreed to take us.”

“But witches do that sometimes, Lou. Remember Hansel and Gretel? They trick you. Because they want to eat you. They all do that. I know; I read books too.”

“So long as I’m there, no witch is going to be bothering you.” She gripped his arm, showing off her strength, and he finally relaxed and looked over at the other occupants of their sleeper compartment.

This trip had been financed entirely by the friends of Jack and Amanda Cardinal, and collectively they had spared no expense in sending the children off in comfort to their new lives. This included a nurse to travel with them, and to stay with them in Virginia for a reasonable length of time, to care for Amanda.

Unfortunately, the hired nurse seemed to have taken it upon herself to act as the disciplinarian of wayward children as well as overseer of motherly health. Understandably, she and Lou had not particularly seen eye to eye. Lou and Oz watched as the tall, bony woman tended to her patient.

“Can we be with her for a bit?” Oz finally asked in a small voice. To him the nurse was part viper, part fairy-tale evil, and she scared him into the next century. It seemed to Oz that the woman’s hand at any moment could become a knife, and he the blade’s only target. The idea of their great-grandmother having witchlike qualities had not come entirely from the unfortunate tale of Hansel and Gretel. Oz held out no hope that the nurse would agree to his request, but, surprisingly, she did.

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