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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His mother walked in with a bowl of porridge. "You'll have to hurry this morning, Jonathan," she said. "It's late and you've got Sunday School."

He and his mother and the people from Oz all sat at the breakfast table by the front window. The people from Oz were going to have porridge as well. Jonathan's mother sat down opposite him, smiling with love.

"You fell asleep," she said, sympathetically.

"When?" Jonathan asked.

"Before the end of your movie."

"I did not!" Jonathan had felt very adult, being allowed to stay up late. It was a sign of great childishness to have fallen asleep.

"You did," said his mother, sweetly. She was utterly charmed. He had fought so hard to stay awake.

"I saw the whole movie," he protested.

"Did you?" said his mother. "What happened at the end?"

Jonathan thought back and found he couldn't remember. This was a truly terrible thing; he was sure he had seen the film, but he found he had no memory of the Witch's castle or of the inside of the Emerald City or of Dorothy's going home.

He went very silent. He wished his mother would stop smiling. He hadn't seen it, after all. He had slept through his movie. He would never see all of the story now.

"It will be on again," said his mother.

"I did so see it," he murmured.

He watched the brown sugar melt on his porridge. He liked that. He used it to help himself forget. Then he poured on the milk to cool it. Otherwise it was too hot. The aim was to get all the porridge floating whole on the milk, so that the sugar on top was not washed away. He blew on his porridge, and the friends from Oz blew with him.

He looked up at them, appraisingly. He must have fallen asleep and pulled them into his dream from out of the movie. So when he woke up they woke up with him and were still there, and that's how they joined him. So maybe it was lucky he had slept.

After the porridge, his mother bundled him into the bathroom again and washed behind his ears, which made him squirm, and then she put him into his own gray suit, with his own red bow tie. Then she put him into his mud-colored coat and his cap with flaps that could come down over his ears. She pushed his galoshes over his feet and then sent him off to Sunday School.

There was already a Christmas wreath on the front door, though there was no snow. The house stood on high Canadian foundations, out of the mud. There was a bank of concrete steps leading down from the front door to the earth. Just in front of the steps, waiting like a trap for the unwary, was Jonathan's wagon. His father had made it out of spare bits of wood. The rubber wheels had a suspension system his father had invented out of springs, too sophisticated for Jonathan to appreciate. He only knew that his wagon ran quietly and smoothly.

Jonathan loaded his new friends onto it and then he ran with his silent wagon, ran down the slope of the small artificial hill on which the house rested. The wagon rolled smoothly over the cover of the cesspit, which his mother was always telling him to avoid. He imagined it was a gate into the underworld or an entrance to an underground house, like Peter Pan's. He ran over the cesspit to the front drive and its broad opening through the white fence that enclosed the Corndale house as if it were a ranch. He left the wagon right in the middle of the entrance where he always did, ready to be flattened.

The people of Oz walked to Sunday School with him. He hoped that he would see no one else, just them. The Second Line West became the Yellow Brick Road. The circular tin culverts under the driveways seemed full of secrets.

Jonathan carried his secret into Sunday School. He told no one that the Oz people were with him. They were his friends alone. The Oz people sang "Yes, Jesus Loves Me" to the colored slide that showed Jesus and the words. They sang "Suffer Little Children." They listened to the story of the parting of the Red Sea, and on the way home, they and Jonathan imagined that they were walking between two high magic walls of seawater, pursued by Egyptians. Within the glassy green walls there were giant fish.

The Oz people were with him when his mother undid his bow tie and changed him into his ordinary clothes. They were with him when they ate Sunday lunch, roast goose with roast potatoes. "How did you like the movie?" his father asked Jonathan, having descended from the attic. Jonathan murmured something through a mouthful of food.

"I think he's forgotten it already," said his mother.

In the afternoon, he and his friends went out and played in the mud. Jonathan sank himself as deep as he could into it. It filled the tops of his galoshes. Together with the people from Oz, he made mud pies. They made patties of the wet cold soil. Jonathan had a bottle of poison from the bathroom. It was a bright red bottle of iodine with a skull and crossbones on it. It was a magic spell. Together, he and the Oz people put poison in the mud pies.

"We're going to feed them to the Wicked Witch," whispered Jonathan. He crept through the back door. He kicked off his boots, heavy with mud, and peeled off his smeared and sodden trousers and ran into the kitchen, trailing mud from his hands and socks. He put the mud pies on plates. He thought that mud was like melted chocolate and would go crisp and solid in the refrigerator.

His mother arrived to find her best china coated in mud and Jonathan in wet socks and underpants, shivering and leaning into the refrigerator.

"I'm poisoning the Witch," explained Jonathan. His round face was evil and eldritch. "Those are Poison Pies, so don't eat them!"

"I promise not to eat Poison Mud Pies," said his mother, endeavoring to find it amusing. "Where are your trousers?"

"Um," said Jonathan.

She went to find them. "Oh, Jonathan!" he heard her cry from the back door. She came into the kitchen holding out the trousers, a twist of cloth and mud. "How did you do this?" she demanded. There were wet footprints across her green rug, her polished floor.

Jonathan spent the rest of the afternoon indoors. He rubbed red poison iodine all over his face and lay on the green carpet, closing one eye. The fibers of the carpet looked huge, like trees, and he and the people from Oz walked through them, on their way to see the Wizard.

"Jonathan, wash your face, now," said his mother. He left red face-stains on the lime-green rug. "What are we going to do with you?" his mother asked.

He and the people from Oz hid in the shoebox. It was a great wooden box that filled one end of the corridor just outside the bathroom. He and the people from Oz lifted the lid and crawled inside it and nestled down amid the smells of rubber and leather and socks, the shoes and boots alternately hard and soft underneath them.

"We're going to disappear," Jonathan told the people from Oz. He burrowed down into the boots, piling shoes on top of himself. Later, when his parents began to try to find him, they even opened the lid and looked in and didn't see him.

Jonathan was as invisible as the people from Oz.

All that winter, Jonathan withdrew from the world to be with his friends. They wandered to the woods far down the Second Line West. They walked quickly and quietly, hoping no one would see them, past Billy Tait's house, past Jaqui Foster's house, all the way beyond the house of his parents' friends, the Harrisons. Jonathan looked down at his feet as he walked, as if ashamed, as if frightened of falling. When he thought there was no chance of anyone seeing him, he broke into a run.

Under a gray November sky Jonathan plunged into the forest through the tangle of shrubs and twigs. Inside, the woods were even darker and grayer. The ground was covered with brown leaves amid the smooth trunks of ash and sycamore. There were birch trees with their magical, white-paper bark that the Indians turned into canoes.

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