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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Cotton counted out the two hundred dollars to the clerk of the court and was given a stamped receipt. He trudged back to his apartment and boxed up the last pile of books. A few minutes later he looked up to see Lou standing in his doorway.

“How did you get here?” he asked.

“I got a ride with Buford Rose in his old Packard. There are no doors on the thing, so it’s a fine view, but you’re only one jolt away from flying out, and it’s pretty cold.” She stared around at the empty room. “Where are all your books, Cotton?”

He chuckled. “They were taking up too much space.” He tapped his forehead. “And, leastways, I’ve got it all right up here.”

Lou shook her head. “I went by the courthouse. I figured there was more to that paper we got than you were letting on. Two hundred dollars for all your books. You shouldn’t have done it.”

Cotton closed up the box. “I still have some left. And I’d like you to have them.”

Lou stepped into the room. “Why?”

“Because they’re your father’s works. And I can’t think of a better person to take care of them.”

Lou said nothing while Cotton taped the box shut.

“Let’s go over and see Louisa now,” Cotton said.

“Cotton, I’m getting scared. More stores have closed. And another bus full of people just left. And the looks folks gave me on the street. They’re really angry. And Oz got in a fight at school with a boy who said we were ruining people’s lives by not selling.”

“Is Oz all right?”

She smiled weakly. “He actually won the fight. I think it surprised him more than anybody. He’s got a black eye, and he’s right proud of it.”

“It’ll be all right, Lou. Things will work out. We’ll weather this.”

She took a step closer, her expression very serious. “Things aren’t working out. Not since we’ve come here. Maybe we should sell and leave. Maybe it’ll be better for all of us. Get Mom and Louisa the care they need.” She paused and could not look at him as she added, “Someplace else.”

“Is that what you want to do?”

Lou wearily stared off. “Sometimes what I want to do is go up on the little knoll behind our house, lay on the ground, and never move again. That’s all.”

Cotton considered this for a few moments and then said, “In the world’s broad field of battle, / In the bivouac of Life, / Be not like dumb, driven cattle! / Be a hero in the strife! / Trust no Future, howe’er pleasant! / Let the dead Past bury its dead! / Act—act in the glorious Present! / Heart within, and God o’erhead! / Lives of great men all remind us / We can make our lives sublime, / And, departing, leave behind us . . . Footprints on the sands of time.”

“ ‘A Psalm of Life.’ Henry Wadsworth Longfellow,” said Lou without much enthusiasm.

“There’s more to the poem, but I’ve always considered those lines the essential parts.”

“Poetry is beautiful, Cotton, but I’m not sure it can fix real life.”

“Poetry needn’t fix real life, Lou, it need just be. The fixing is up to us. And laying on the ground and never moving again, or running from trouble, is not the Lou Cardinal I know.”

“That’s very interesting,” said Hugh Miller, as he stood there in the doorway. “I looked for you at your office, Longfellow. I understand you’ve been over at the courthouse paying the debts of others .” He flashed a nasty grin. “Right good of you, however misguided.”

“What do you want, Miller?” said Cotton.

The little man stepped into the room and looked at Lou. “Well, first I want to say how sorry I am about Miss Cardinal.”

Lou crossed her arms and looked away.

“Is that all?” Cotton said curtly.

“I also came by to make another offer on the property.”

“It’s not my property to sell.”

“But Miss Cardinal isn’t in a position to consider the offer.”

“She already refused you once, Miller.”

“That’s why I’m cutting right to the chase and raising my offer to five hundred thousand dollars.”

Cotton and Lou exchanged startled glances, before Cotton said, “Again, it’s not my property to sell.”

“I assumed you would have a power of attorney to act on her behalf.”

“No. And if I did, I still wouldn’t sell to you. Now, is there anything else I can’t do for you?”

“No, you’ve told me all I need to know.” Miller handed a packet of papers to Cotton. “Consider your client served.”

Miller walked out with a smile. Cotton quickly read through the papers, while Lou stood nervously beside him.

“What is it, Cotton?”

“Not good, Lou.”

Cotton suddenly grabbed Lou’s arm, and they raced down the stairs and over to the hospital. Cotton pushed open the door to Louisa’s room. The flashbulb went off right as they came in. The man looked over at them and then he took another picture of Louisa in her bed. There was another man next to him, large and powerfully built. Both were dressed in nice suits and wore creased hats.

“Get out of here!” cried Cotton.

He raced over and tried to grab the camera from the man, but the big fellow pulled him away, allowing his partner to slide out the door. Then the big man backed out of the room, a smile on his lips.

Cotton could only stand there, breathing hard and looking helplessly between Lou and Louisa.

CHAPTER THIRTY-SEVEN

It was a particularly cold, cloudless day when Cotton entered the courtroom. He stopped when he saw Miller and another man there, who was tall, portly, and very well dressed, his fine silver hair combed neatly on a head so massive it seemed hardly natural.

Cotton said to Miller, “I was pretty sure I’d see you today.”

Miller inclined his head at the other man. “You probably heard of Thurston Goode, Commonwealth’s attorney for Richmond?”

“Indeed I have. You argued a case before the United States Supreme Court recently, didn’t you, sir?”

“More precisely,” Goode said in a deep, confident baritone, “I won the case, Mr. Longfellow.”

“Congratulations. You’re a long way from home.”

“The state was kind enough to allow Mr. Goode to come down here and act on its behalf in this very important matter,” explained Miller.

“Since when does a simple suit to declare a person mentally unfit qualify for the expertise of one of the finest lawyers in the state?”

Goode smiled warmly. “As an officer of the Commonwealth I don’t have to explain to you why I’m here, Mr. Longfellow. Suffice it to say, that I am here.”

Cotton put a hand to his chin and pretended to ponder something. “Let’s see now. Virginia elects its Commonwealth’s attorneys. Might I inquire as to whether Southern Valley has made a donation to your campaign, sir?”

Goode’s face flushed. “I don’t like what you’re implying!”

“I did not mean it as an implication.”

Fred the bailiff came in and announced, “All rise. The Court of the Honorable Henry J. Atkins is now in session. All those having business before this court draw near and you shall be heard.”

Judge Henry Atkins, a small man with a short beard, thinning silver hair, and clear gray eyes, came into the room from his adjacent chambers and took his seat behind the bench. Before he got up there, he looked too small for his black robe. Once he got there, he looked too large for the courtroom.

It was at this point that Lou and Oz crept in without anyone seeing them. Wearing barter coats and thick socks stuffed into oversized boots, they had retraced their steps across the poplar-log bridge and down the mountain, catching a ride on a truck to Dickens. It had been a much harder trek in cold weather, but the way Cotton had explained it to them, the potential effect of this proceeding on all their lives was very clear. They sat slumped down at the rear, their heads barely visible over the back of the seats in front of them.

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