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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Atkins asked, “Has the jury reached a verdict?”

The foreman rose. He was a man from the town, a humble shopkeeper, his body swollen from too much beef and potato, and from too little effort with arms and shoulders. “Yes, Your Honor,” he said quietly.

Hardly a single person had left the courtroom since the jury had been given its charge from the judge and sent out. The whole population of the room leaned forward, as though they all had just been struck deaf.

“What say you?”

“We find . . . for Southern Valley.” The foreman looked down, as though he had just delivered a death sentence to one of his own.

The courtroom erupted into shouts—some cheers, some not. The balcony seemed to sway with the collective weight of the decision of a dozen men. Hugh Miller and George Davis exchanged slight nods, lips easing into victorious smiles.

Cotton sat back. The legal process had had its day; the only thing absent was justice.

Miller and Goode shook hands. Miller tried to congratulate Wheeler, but the big man walked off in obvious disgust.

“Order, order in this court or I’ll clear it.” Atkins slammed his gavel several times, and things did quiet down.

“The jury is dismissed. Thank you for your service,” he said and not very kindly. A man entered the courtroom, spotted Cotton, and whispered something in his ear. Cotton’s despair noticeably deepened.

Goode said, “Your Honor, it now remains solely to appoint someone to represent Miss Cardinal’s interests and assume guardianship of the children.”

“Judge, I’ve just received some news that the court needs to hear.” Cotton slowly stood, his head down, one hand pressed to his side. “Louisa Mae Cardinal has passed away.”

The courtroom erupted once more, and this time Atkins made no move to contain it. Davis’s smile broadened. He went over to Cotton. “Damn,” he said, “this day get better and better.”

Cotton’s mind went blank for a moment, as though someone had smote him with an anvil. He grabbed Davis and had it in his mind to deliver him into the next county with his right fist, but then he stopped and simply heaved the man out of his way, as one would shovel a large pile of manure off a road.

“Your Honor,” said Goode, “I know we’re all very sorry to hear about Miss Cardinal. Now, I have a list of very reputable people who can represent these fine children in the sale of the property that has just now passed to them.”

“And I hope you rot in hell for it,” cried out Cotton. He raced to the bench, Goode on his heels.

Cotton pounded his fist so hard on the mighty bench of justice that Fred the bailiff took a nervous step toward them.

“George Davis tainted that whole jury,” roared Cotton. “I know he’s got Southern Valley dollars burning a hole in his pocket.”

“Give it up, Longfellow, you lost,” said Goode.

Neither man noticed the courtroom doors opening.

“Never, Goode. Never!” Cotton shouted at him.

“He agreed to be bound by the decision of the jury.”

“I’m afraid he’s got a point there,” said Atkins.

A triumphant Goode turned to look at Miller and his eyes nearly crossed at what he was seeing.

“But Henry,” pleaded Cotton, “please, the children . . . Let me be their guardian. I—”

Atkins was not paying attention to Cotton. He too was now staring at the courtroom, his mouth wide open.

Cotton slowly turned to see what Atkins was looking at, and felt himself feeling faint, as though he’d just seen God walk through that door.

Lou and Oz stood there before them all.

And between them, held up almost solely by her children, was Amanda Cardinal.

Lou had not taken her gaze from her mother from the moment Oz had led her down the hallway and into the bedroom, where her mother was lying in bed, her eyes wide open, tears running from them, her shaky arms finally reaching out to her children, her trembling lips forming a joyous smile.

Neither could Cotton take his gaze from the woman. Still, he had unfinished business before the court.

In a cracking, halting voice he said, “Your Honor, I would like to present to you Amanda Cardinal. The rightful and true guardian of her children.”

The sea of now-silent people parted and allowed Cotton to walk slowly over to mother and her children, his legs stumbling along, as though they had forgotten the proper motions. His face was smirched with tears.

“Mrs. Cardinal,” he began, “my name is—”

Amanda reached out a hand and touched him on the shoulder. Her body was very weak, yet her head was held high, and when she spoke her words were soft but clear. “I know who you are, Mr. Longfellow. I’ve listened to you often.”

TODAY

The tall woman walks along a field of bluegrass slowly curving in the wind. The line of mountains sweeps across in the background. Her hair is silver and hangs to her waist. She holds a pen and a paper tablet and sits on the ground and begins to write.

Maybe the wishing well did work. Or perhaps it was the unwavering faith of a little boy. Or maybe it was as simple as a little girl telling her mother she loved her. The important thing was our mother came back to us. Even as our beloved Louisa Mae left us. We had Louisa but a minute, yet we came close to having her not at all.

The woman rises, walks along, and then stops at two granite tombstones with the names Cotton Longfellow and Amanda Cardinal Longfellow engraved upon them. She sits and continues writing.

My mother and Cotton were married a year later. Cotton adopted Oz and me, and I showed equal love and affection to him and my mother. They spent over four wonderful decades together on this mountain and died within a week of one another. I will never forget Cotton’s great kindness. And I will go to my own grave knowing that my mother and I made the most of our second chance.

My little brother did grow into those big feet, and developed an even bigger arm. And on a glorious autumn day, Oz Cardinal pitched and won a World Series for the New York Yankees. He’s now a schoolteacher there, with a well-deserved reputation for helping timid children thrive. And his grandson has inherited that immortal bear. Some days I want nothing more than to be holding that little boy again, running my fingers through his hair, comforting him. My cowardly lion. But children grow up. And my little brother became a fine man. And his sister is truly proud of him.

Eugene went on to have his own farm and family and still lives nearby. He remains to this day one of my best friends in the world. And after his performance in that courtroom so long ago, I never heard anyone ever again refer to him as Hell No.

And me? Like my father, I left the mountain. But unlike Jack Cardinal, I came back. I married and raised a family here in a home I built on the land Louisa Mae left us. Now my own grandchildren come and visit every summer. I tell them of my life growing up here. About Louisa Mae, Cotton, and my dear friend Diamond Skinner. And also about others who touched our lives. I do so because I believe it important for them to know such things about their family.

Over the years I had read so many books, I started to write one of my own. I loved it so much, I wrote fourteen more. I told stories of happiness and wonder. Of pain and fear. Of survival and triumph. Of the land and its people. As my father had. And while I never won the sorts of awards he did, my books tended to sell a little better.

As my father wrote, one’s courage, hope, and spirit can be severely tried by the happenstance of life. But as I learned on this Virginia mountain, so long as one never loses faith, it is impossible to ever truly be alone.

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