Френсис Фицджеральд - Tender is the night / Ночь нежна. Книга для чтения на английском языке

“I’ve arranged one other thing,” announced Rosemary to the company at large, “I’ve arranged a test for Dick.”

“A what?”

“A screen test, they’ll take one now.”

There was an awful silence – then an irrepressible chortle from the Norths. Rosemary watched Dick comprehend what she meant, his face moving first in an Irish way; simultaneously she realized that she had made some mistake in the playing of her trump and still she did not suspect that the card was at fault.

“I don’t want a test,” said Dick firmly; then, seeing the situation as a whole, he continued lightly, “Rosemary, I’m disappointed. The pictures make a fine career for a woman – but my God, they can’t photograph me. I’m an old scientist all wrapped up in his private life.”

Nicole and Mary urged him ironically to seize the opportunity; they teased him, both faintly annoyed at not having been asked for a sitting. But Dick closed the subject with a somewhat tart discussion of actors: “The strongest guard is placed at the gateway to nothing,” he said. “Maybe because the condition of emptiness is too shameful to be divulged.”

In the taxi with Dick and Collis Clay – they were dropping Collis, and Dick was taking Rosemary to a tea from which Nicole and the Norths had resigned in order to do the things Abe had left undone till the last – in the taxi Rosemary reproached him.

“I thought if the test turned out to be good I could take it to California with me. And then maybe if they liked it you’d come out and be my leading man in a picture.”

He was overwhelmed. “It was a darn sweet thought, but I’d rather look at you. You were about the nicest sight I ever looked at.”

“That’s a great picture,” said Collis. “I’ve seen it four times. I know one boy at New Haven who’s seen it a dozen times – he went all the way to Hartford to see it one time. And when I brought Rosemary up to New Haven he was so shy he wouldn’t meet her. Can you beat that? [140] Can you beat that? – (разг.) Представляете? This little girl knocks them cold [141] knocks them cold – (разг.) разит наповал .”

Dick and Rosemary looked at each other, wanting to be alone, but Collis failed to understand.

“I’ll drop you where you’re going,” he suggested. “I’m staying at the Lutetia.”

“We’ll drop you,” said Dick.

“It’ll be easier for me to drop you. No trouble at all.”

“I think it will be better if we drop you.”

“But —” began Collis; he grasped the situation at last and began discussing with Rosemary when he would see her again.

Finally, he was gone, with the shadowy unimportance but the offensive bulk of the third party. The car stopped unexpectedly, unsatisfactorily, at the address Dick had given. He drew a long breath.

“Shall we go in?”

“I don’t care,” Rosemary said. “I’ll do anything you want.”

He considered.

“I almost have to go in – she wants to buy some pictures from a friend of mine who needs the money.”

Rosemary smoothed the brief expressive disarray of her hair.

“We’ll stay just five minutes,” he decided. “You’re not going to like these people.”

She assumed that they were dull and stereotyped people, or gross and drunken people, or tiresome, insistent people, or any of the sorts of people that the Divers avoided. She was entirely unprepared for the impression that the scene made on her.

It was a house hewn [142] hewn – (зд.) перестроенный from the frame of Cardinal de Retz’s [143] Cardinal de Retz’s – Жан Франсуа Поль де Ретц (1614– 1679), кардинал, один из представителей фрондистского движения во Франции palace in the Rue Monsieur, but once inside the door there was nothing of the past, nor of any present that Rosemary knew. The outer shell, the masonry, seemed rather to enclose the future so that it was an electric-like shock, a definite nervous experience, perverted as a breakfast of oatmeal and hashish, to cross that threshold, if it could be so called, into the long hall of blue steel, silver-gilt, and the myriad facets of many oddly bevelled mirrors. The effect was unlike that of any part of the Decorative Arts Exhibition – for there were people in it, not in front of it. Rosemary had the detached false-and-exalted feeling of being on a set and she guessed that every one else present had that feeling too.

There were about thirty people, mostly women, and all fashioned by Louisa M. Alcott [144] Louisa M. Alcott – Луиза Олкотт (1832–1888), американская писательница, автор назидательных книг для детей or Madame de Ségur [145] Madame de Ségur – Софи де Сегюр (урожд. Ростопчина, 1799–1894), французская детская писательница русского происхождения ; and they functioned on this set as cautiously, as precisely, as does a human hand picking up jagged broken glass. Neither individually nor as a crowd could they be said to dominate the environment, as one comes to dominate a work of art he may possess, no matter how esoteric, no one knew what this room meant because it was evolving into something else, becoming everything a room was not; to exist in it was as difficult as walking on a highly polished moving stairway, and no one could succeed at all save with the aforementioned qualities of a hand moving among broken glass – which qualities limited and defined the majority of those present.

These were of two sorts. There were the Americans and English who had been dissipating all spring and summer, so that now everything they did had a purely nervous inspiration. They were very quiet and lethargic: at certain hours and then they exploded into sudden quarrels and breakdowns and seductions. The other class, who might be called the exploiters, was formed by the sponges, who were sober, serious people by comparison, with a purpose in life and no time for fooling. These kept their balance best in that environment, and what tone there was, beyond the apartment’s novel organization of light values, came from them.

The Frankenstein [146] Frankenstein – (зд.) монстр, чудовище. Франкенштейн, герой романа английской писательницы Мэри Шелли (Mary Shelley, 1797–1851) «Франкенштейн, или современный Прометей» (Frankenstein, or the Modern Prometheus, 1818), создал человекоподобное чудовище из неживой материи; поскольку М. Шелли не дала этому монстру никакого имени, его часто называют Франкенштейном по имени создавшего его ученого took down Dick and Rosemary at a gulp – it separated them immediately and Rosemary suddenly discovered herself to be an insincere little person, living all in the upper registers of her throat and wishing the director would come. There was however such a wild beating of wings in the room that she did not feel her position was more incongruous than any one else’s. In addition, her training told and after a series of semi-military turns, shifts, and marches she found herself presumably talking to a neat, slick girl with a lovely boy’s face, but actually absorbed by a conversation taking place on a sort of gun-metal ladder diagonally opposite her and four feet away.

There was a trio of young women sitting on the bench. They were all tall and slender with small heads groomed like manikins’ heads, and as they talked the heads waved gracefully about above their dark tailored suits, rather like long-stemmed flowers and rather like cobras’ hoods.