Rachel Kushner - The Flamethrowers

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The Flamethrowers: краткое содержание, описание и аннотация

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The year is 1975 and Reno — so-called because of the place of her birth — has come to New York intent on turning her fascination with motorcycles and speed into art. Her arrival coincides with an explosion of activity in the art world — artists have colonized a deserted and industrial SoHo, are staging actions in the East Village, and are blurring the line between life and art. Reno meets a group of dreamers and raconteurs who submit her to a sentimental education of sorts. Ardent, vulnerable, and bold, she begins an affair with an artist named Sandro Valera, the semi-estranged scion of an Italian tire and motorcycle empire. When they visit Sandro’s family home in Italy, Reno falls in with members of the radical movement that overtook Italy in the seventies. Betrayal sends her reeling into a clandestine undertow.
The Flamethrowers is an intensely engaging exploration of the mystique of the feminine, the fake, the terrorist. At its center is Kushner’s brilliantly realized protagonist, a young woman on the verge. Thrilling and fearless, this is a major American novel from a writer of spectacular talent and imagination.

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“You know what I love more than anything?” he said.

“What?” she asked with quiet reverence, as if the whole evening were a ritual enacted in order to arrive at this moment, when he would finally tell her what he really loved.

“I love crazy little girls.” He grabbed her and hoisted her over his shoulder, her underpants still around her ankles. Carried her into the bedroom and shut the door.

“You know what they do?” the friend said. “They shoot each other with that gun. In the crotch. Bang. Pow. It makes your eardrums feel ripped in half the next day.”

“Isn’t that dangerous?” I asked.

“Of course. That’s why they do it.”

The gun went off. Nadine shrieked with laughter. The telephone in the room began ringing.

The friend and I sat quietly, either waiting for the next gunshot or for the phone to stop ringing, or for something else.

“Hey,” he said. “Hey, Reno. Come here.”

But I was already right next to him.

We kissed, his pretty mouth soft and warm against mine, as the phone kept ringing.

* * *

When we’d finally lain down on my bed, the early sun over the East River filling my apartment with gold light, I told him I didn’t want to know his name. I didn’t think much about it. I just said it. “I don’t even want to know your name.”

He was wearing the brown Borsalino I’d found at the bar near my house. He took it off and put it on the floor next to my mattress, peeled off his homemade Marsden Hartley T-shirt, and pinned me down gently. My heart was pounding away.

“I don’t want to know yours, either,” he said, scanning my face intently.

What was he looking for? What did he see?

What transpired between us felt real. It was real: it took place. The things I’d heard and witnessed that evening, their absurdity, were somehow acknowledged in his dimples, his smirk, his gaze. The way he comically balled up the Marsden Hartley T-shirt and lobbed it across the room like a man fed up with shirts once and for all. Surveyed the minimal room, nodding, as if it were no surprise, but information nonetheless that he was taking in, cataloguing. And then surveying me, my body, nodding again, all things confirmed, understood, approved of.

I had followed the signs with care and diligence: from Nina Simone’s voice, to the motorcycle, to the Marsden Hartley shirt. All the way through the night, to the gun and now this: a man in my room who seemed to hold keys to things I’d imagined Chris Kelly would unlock had I found him. I never did.

* * *

When I woke up in the late morning, he was gone. The day was already midstride, full heat, full sun. My head pounded weakly. I was tired, hungover, disoriented. The brown felt Borsalino was gone, and I remembered that I had wanted him to have it, had told him to have it.

I sat on the fire escape. It was Sunday. Down below, the limousine drivers were in front of the little Mafia clubhouse, waiting next to a long line of black cars. They looked sweaty and miserable and I envied them. To wait by a car and know with certainty that your passenger would appear. To have such purpose on that day.

I had said something embarrassing about the Borsalino being already his, that it had been waiting for him in my apartment. I was doing that thing the infatuated do, stitching destiny onto the person we want stitched to us. But all of that — me as Reno, he as nameless, his derelict friends against whom we bonded, and yet without whom I never would have met him — all of it was gone.

I had said I didn’t want to know his name and it wasn’t a lie. I had wanted to pass over names and go right to the deeper thing.

* * *

Rain fell. Every day, heavy rain, and I sat in my apartment and waited for sirens. Just after the rain began, there were always sirens. Rain and then sirens. In a rush to get to where life was happening, life and its emergencies.

Do you understand that I’m alone? I thought at the unnamed friend as I stood in the phone booth on Mulberry Street, the sky gray and heavy, the street dirty and quiet and bleak, as a woman’s voice declared once more that I’d reached a number that had been disconnected.

It was just one night of drinking and chance. I’d known it the moment I met him, which was surely why I was enchanted in the first place. Enchantment means to want something and also to know, somewhere inside yourself, not an obvious place, that you aren’t going to get it.

5. VALERA IS DEAD

was what he’d written in his notebook late that night, his hand trembling, the pen trembling. He had lain down in his clothes and trembled.

Valera is dead.

Here lies a different one.

* * *

As he savored the too quickly degrading images, his memories of the Great Ride the night before, its moments slipping away as if it had been a rare and precious dream, receding in the way the best dreams, the erotic ones, must, he looked at his note to himself, which he’d written exhilarated and shaking, the wobbly hand declaring his death.

From now on, he thought, leaves tremble. Not men. Only leaves.

The death was over. The birth had begun.

* * *

The little gang he’d met at the Caffè Aragno had a leader, Lonzi. If not officially the leader, Lonzi was the most belligerent and original among them. Like Valera, Lonzi was from a rich Milanese family, his own father in timber and real estate, with a big, beautiful house in the Brera, near Valera’s family villa. Like Valera, Lonzi had fled that and enrolled in the university in Rome. Both were young men who had been told to work hard and claim what would be theirs, to remind the world of their names and behind the names their power and prestige. Lonzi was a dropout, using the name to disgrace it and what it stood for. Though Valera understood this, the call of it, using one’s training in self-importance to turn power on its head, he had no interest in giving up on becoming an engineer. Instead, he added Lonzi to his studies, the world of things that could instruct. Lonzi said inherited wealth and stature meant sloth, comfort, and nostalgia. Lonzi detested sloth and nostalgia and said he had no interest in aristocratic splendor, in rotting under the sun as he was meant to, wallowing like a hog in the thick, warm mud in which the Italian upper classes were trapped, in which all of Italy was trapped, lives structured around tradition, custom, sameness.

Valera pictured Egypt when Lonzi talked like this. His hours upon hours on the balcony, gazing out at the steady blue lid of the Mediterranean, pushing his face against the leaves of a potted date palm, trying to feel some scratch, some sharpness.

Lonzi and the little gang hated tourists, Sundays, torpor. They wanted speed and change. For his own quickness, Valera was becoming known among the motorcycle riders. He had a talent and feel for the two-wheeled machine, for how to corner it, braking as he angled into a turn, jutting his foot out to the side to steady and counterbalance the cycle, and then blasting open his throttle to straighten the bike, accelerating out of a curve as the others were still on their brakes, worried about crashing. He pulled ahead of the other riders without fail. He didn’t yet have his own cycle — he’d asked for the money but the wire had not yet come through from Milan — so he was always having to wait on the curb outside the Caffè Aragno, hoping to grub a ride on someone else’s. Some of the gang were proud to have their cycle ridden by Valera, who would always pull to the front, and others were annoyed by it and tried to avoid him when they saw him on the curb.

When the money arrived, he purchased his first motorcycle, a Pope V-twin, American made, and by far the fastest in the group. Its engine was 999 cubic centimeters, its tube frame painted a stunning, lurid gold. It was powerful and scary, vibrating his hands and arms numb, its suspension and handling not suited to its speed. It was an unruly thing and he loved it. He was officially part of the little gang, and when they whispered, “Third room,” and headed to the secret back area of the Aragno, they said it also to Valera, and this tiny gesture, a whisper, strengthened his resolve to be like Lonzi, to fill himself with the spirit, the pneuma, as he thought of it, of the group.

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