Geoff Ryman - Was

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Was: краткое содержание, описание и аннотация

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From Publishers Weekly
Ryman's darkly imaginative, almost surreal improvisation on L. Frank Baum's Oz books combines a stunning portrayal of child abuse, Wizard of Oz film lore and a polyphonic meditation on the psychological burden of the past.
From Kirkus Reviews
The Scarecrow of Oz dying of AIDS in Santa Monica? Uncle Henry a child abuser? Dorothy, grown old and crazy, wearing out her last days in a Kansas nursing home? It's all here, in this magically revisionist fantasy on the themes from The Wizard of Oz. For Dorothy Gael (not a misprint), life with Uncle Henry and Aunty Em is no bed of roses: Bible-thumping Emma Gulch is as austere (though not as nasty) as Margaret Hamilton, and her foul- smelling husband's sexual assaults send his unhappy niece over the line into helpless rage at her own wickedness and sullen bullying of the other pupils in nearby Manhattan, Kansas. Despite a brush with salvation (represented by substitute teacher L. Frank Baum), she spirals down to madness courtesy of a climactic twister, only to emerge 70 years later as Dynamite Dottie, terror of her nursing home, where youthful orderly Bill Davison, pierced by her zest for making snow angels and her visions of a happiness she never lived, throws over his joyless fianc‚e and becomes a psychological therapist. Meanwhile, in intervening episodes in 1927 and 1939, Frances Gumm loses her family and her sense of self as she's transformed into The Kid, Judy Garland; and between 1956 and 1989, a little boy named Jonathan, whose imaginary childhood friends were the Oz people, grows up to have his chance to play the Scarecrow dashed by the AIDS that will draw him to Kansas-with counselor Davison in pursuit-in the hope of finding Dorothy's 1880's home and making it, however briefly, his own. This tale of homes lost and sought, potentially so sentimental, gets a powerful charge from Ryman's patient use of homely detail in establishing Dorothy's and Jonathan's childhood perspectives, and from the shocking effects of transforming cultural icons, especially in detailing Dorothy's sexual abuse. Science-fiction author Ryman (The Child Garden, 1990) takes a giant step forward with this mixture of history, fantasy, and cultural myth-all yoked together by the question of whether you can ever really go home.

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"Thank you, Max," she murmured. It sounded like a farewell.

She got into the wagon. Henry waved Max away. Henry pulled hard on the reins to keep the wagon still. Henry waited until Max was out of sight, disappearing over the top of Prospect.

"We don't share no blood," Henry said solemnly. "We're not blood kin."

That meant nothing to Dorothy. Did he mean that he had no bad blood? Did he mean that only she did? She waited, as an animal waits when it is cornered by a predator.

"I'm just older than you, that's all." He tried to smile, but there was a shaking in him. "You aren't going to do nothing, are you, Dorothy? You aren't going to go away, are you? 'Cause old Henry, he needs you. You are the light of his life. You are the only beautiful thing. And a man needs that, Dorothy."

He paused and looked at the wall of trees, full of spring buds, climbing the side of the hill. The buds gathered together on the trees looked from a distance like a slightly purple mist. "We'll have to be careful of her. We'll just have to watch our step. In summer, the corn will be as high as you like."

He means we'll do it in the corn, thought Dorothy. He'll wait for me here, and we'll go into the corn. He wants to go on doing it.

"She can't live forever."

He wants Aunty Em to die.

Then he gave her a ride home, a chaste distance from her. It was already late, so they walked into the house, Dorothy first, Henry a few minutes later. Chores, he told Dorothy. Got a few things to do. You just go right on in. He was lying.

The next day, they went into the barn. "I got to do it," said Henry, grinning. "I just can't keep away. You are a wicked, wicked little thing." He smiled and rubbed his nose against her, and she went still and cold and quiet as ice.

"You like that, you like that, don't you?" he said, and it made no difference that she didn't answer.

It went on and on and Henry got rougher and rougher with his raw hands. Yes, I'm bad, thought Dorothy. I'm bad, I'm bad, I'm bad. She could feel herself twist inside. She hated Henry's smell, she hated his body, she hated the barn. And she wanted Aunty Em to see them.

She wanted Aunty Em to see them, so bad she could taste it. Her so God-fearing, her so church-loving, to walk in and see her husband pig-backing a kid, pig-backing me, doing what you should be doing Em, you old dried piece of beef jerky. You should see this. I can just hear you yelping.

So she pulled up Henry's shirt, and she pushed his trousers down, so that there would be no mistaking. No one hugs a child with their milkwhite bottom bare in early spring unless they're doing that.

And one day, muddy, bleak, not so cold, his trousers were down around his knees, and he kept pulling them up, chuckling, "Don't do that, honey," and Aunty Em yelled out, real close to the barn.

"Henry, where are you?"

Henry gasped and ducked away, scuttled around behind the bales of hay. Dorothy stayed where she was. Her dress fell back down by itself, but she would not have pulled it down. Her flannels were still down around her thighs. She leaned against the post and waited.

Aunty Em came in, carrying a pan. Mocking her, Dorothy made a coy little-girl motion with her hips and head. Little old me do anything wrong?

"You seen your uncle?" Em asked.

"Sure, he's just around there," said Dorothy and pointed.

Em looked between Dorothy and the hay. "What you doing there?" said Em to Henry. "Why didn't you answer?"

Henry stood up. Down on his knees, he had managed to hoist and fasten his trousers. "Thought I saw a rat," said Henry, looking straight at Dorothy. Dorothy's eyes went wide. Did I do something wrong, Uncle?

"Well, get up off the floor and tell me when we can get into Manhattan. I can't use this pan. It's finally gone through."

"Friday. We'll go Friday."

"High time too. Dorothy, if you're through in here, come in and sweep up."

"She'll be 'long momently, Em," said Uncle Henry. "She's doing some chores in here for me."

"All right, but send her along." Aunty Em left, sensing something too big to even acknowledge. She left scowling.

Pause. Dorothy looked at Henry, with that cold curiosity.

He took two steps toward her and whupped her right across the mouth and onto the floor. Dorothy tasted blood, in triumph. Yup, yup, that was right. That was what it was. Now she could hate him.

"What the hell are you trying to do?" he said, whispering, shaking in fear. "You want her to know or something?"

"Did I do something wrong, Uncle Henry?" she asked in a little-girl voice. "She asked where you were and I told her."

"You just keep quiet. You just keep quiet about everything. Oh Jesus!" He hid his face.

"What am I going to tell her about my mouth?" she said. Dorothy puffed out her lips as she spoke to make it sound as though she were hurt worse than she was, all swollen.

"Tell her you fell. You're pretty good at making up stories."

"Like you are, Uncle," said Dorothy very quietly.

She was silent and smiling, and she knew that the smile said: Why should I lie for you? Give me a reason. Then she spoke. "You gonna bring me back something nice from Manhattan?" she said.

Uncle Henry looked scared again. He leaned over and helped her up. He started to brush her dress. "Yeah, yeah, I'll do that."

Dorothy smiled sweetly at him, so that he could see all her teeth were red.

"Dorothy, I'm sorry I hit you, but you almost got us…" He could not imagine what would have happened. "Honey, we got to keep quiet about this. We got to keep as still as mice. It's like it's our own little world. It can't touch the other world at all."

"Okay, Uncle Henry."

He looked at her with love and great misgiving. His eyes were saying: What have I got myself into?

"I better go in," said Dorothy.

I got them dancing, thought Dorothy. I got Aunty Em with a pin through her, squirming like a butterfly, and she don't even know it. And Uncle Henry, he's just got to be so careful. All I got to do is make sure nobody knows, and I can just keep pushing pins.

She stopped at the barn door and turned. "Tell Aunty Em that I need some new boots," she said.

I'm bad, she thought, rejoicing. I'm wicked, I'm evil. I'm the Devil's own.

"You can get them for me, when you go to Manhattan," she said, and went into the house. She burned the pork, deliberately, burned it black, and she was smiling all the time.

The next day, or the day after that, in Manhattan, at school, a pretty little girl fell in the schoolyard and started to cry.

Aw, thought Dorothy. You poor little thing you. Is that all you got to cry about? Is that the only reason you have to cry?

Dorothy grinned and pretended to help the little girl up. She was so little and so thin and Dorothy was so big. She could feel her size.

"Does it hurt?" she cooed, and sliced the edge of her nails down the girl's wrist. The little girl looked up in bewildered horror.

"Hurt?" asked Dorothy, and wrenched the flesh of the wrist in two directions at once, wrung it like a cloth.

The little girl wailed.

"Shut up," whispered Dorothy, and punched her as hard as she could in the stomach. The little girl doubled up and went quiet.

Dorothy looked at the pretty white dress and had an inspiration. "You got any money? Give me some money. I'll stop if you give me some money."

The little girl wept in silence.

Dorothy put her nails against her cheek. "You better give me some," she warned her, and chuckled suddenly. "It's going to be real bad if you don't."

The feeble little girl reached for a pretty little purse kept inside her glove. Dorothy took it from her. "Tell your mother you dropped it," she said. "And you better not snitch, or I'll follow you home and whup you so bad you can't walk."

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