John Berger - G.

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G.: краткое содержание, описание и аннотация

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In this luminous novel — winner of Britain's prestigious Booker Prize — John Berger relates the story of "G.," a young man forging an energetic sexual career in Europe during the early years of this century. With profound compassion, Berger explores the hearts and minds of both men and women, and what happens during sex, to reveal the conditions of the Don Juan's success: his essential loneliness, the quiet cumulation in each of his sexual experiences of all of those that precede it, the tenderness that infuses even the briefest of his encounters, and the way women experience their own extraordinariness through their moments with him. All of this Berger sets against the turbulent backdrop of Garibaldi and the failed revolution of Milanese workers in 1898, the Boer War, and the first flight across the Alps, making G. a brilliant novel about the search for intimacy in history's private moments.

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I refuse. You are being absurd.

You refuse. Of course you refuse, I have seen the two of you together. I was blind. Blinded by my own trust in you. But now I can see. From the first moment you met him, you ogled him, you put yourself at his side, eyeing him, murmuring—

You have gone out of your mind. You have no right to say these things to me. I have done nothing.

Done nothing! In two days you haven’t had the time to do anything — as you so delicately put it. But you have wanted to, and like — like a prostitute you have interested him.

She tried to push him away with her hands. Then she lowered her head and began to cry.

We shall leave for Paris tomorrow afternoon, he said. You can tell Yvonne to pack. He strode to the door and turned to face her again. The shamelessness of it is what I find so disgusting, he said, the vulgarity! In two days under my very eyes in a small town where we are all of us of necessity on each other’s doorsteps!

Doorsteps! she said, angry whilst crying.

I shall warn him tomorrow morning, he said, if I catch sight of him again with you, I shall shoot him — and have every court in France on my side. I shall shoot him down like—

Would it not be more honourable to challenge him to a duel?

I daresay you see yourself as a great courtesan. But you have neither the tact nor the charm for that. And you happen to be living in the twentieth century.

I beg you not to speak to him.

Him!

Where her gown crossed over he could see her white, rising breasts. Let us go back to Paris, she said, if that will really satisfy you, but do not speak to him.

Evidently, my dear Camille, you are frightened of what I will learn from him.

Very well.

He took the key out of the door and left the room. He took the key because otherwise she might lock him out. She had done so on several occasions after disputes; and later tonight — he was aware of it now — it was possible that he might decide to fuck her like a prostitute.

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Camille slept fitfully. At six she got up. Her husband was not in his room and had apparently not slept in his bed. She opened the shutters. The sky was blue without a cloud in it. The pace of the day had not yet established its rhythm; time, like the street with only a few people in it, seemed elongated. The length of the day and the depth of the blue sky constituted a stage whose dimensions suddenly made her shiver. From the window she could see the railway station.

She waited impatiently for the time when she could decently send Yvonne with a message to Mathilde, asking the latter to join her as quickly as possible because she needed her help.

Whilst waiting she ordered coffee.

From the window she saw a cat cross the courtyard with that undeviating fleetness which characterizes cats when they have direct access to what they want. The cat had heard the noise of the coffee grinder being turned by the peasant girl in the kitchen, who sat on a stool and held the grinder between her knees. For the cat the noise signified cream. When the maid finished grinding the coffee, she would go to the wooden larder in the wall and take down a large jug of cream. She would pour the cream from this jug into small silver jugs, and if the cat rubbed itself against her leg, she would also pour some into a chipped blue and white plate and place it by the door to the yard for the cat to drink.

She looked several times through her wardrobe to decide what to wear today. They would be catching the train to Paris. She was being taken home to her children, herself like a child who had misbehaved. She had a dark travelling suit in linen lined with patterned satin, which would be highly suitable. She decided, however, to wear her trotteur of pale lilac grey. She was being taken home under protest.

It was not for her advice that she needed Mathilde but for her assistance. Mathilde was a person, Camille considered, with different standards from her own and with far more luxurious tastes. Mathilde understood contracts and because she understood them, she was able to keep them. When she married Monsieur Le Diraison, aged sixty-four, she undertook to make the rest of his life agreeable in exchange for the inheritance she would receive at his death. And for five years she had spoilt the old sick man like a child. She, Camille, would be incapable of carrying out such a bargain; she believed that life should be finer than that. She believed in a justice whose essence was spiritual, not material. She liked the parable of the labourers in the vineyard of whom the last to be hired, who worked for only one hour, were nevertheless paid the same amount as those who had borne the burden and heat of the whole day.

She needed Mathilde’s assistance precisely because she wanted to redress an injustice. If her husband had spoken to him as he had threatened to do (and his absence seemed to confirm that this might be the case) she wanted to go out into the town this morning, accompanied by Mathilde, in the hope that they might meet him. She never wished to see him again, but she wanted to give him her assurance that however unsuitable, imprudent and mistaken his pursuit of her had been, she had never for one moment considered it base.

She foresaw that Mathilde would dismiss this plan as quixotic and childish. But she knew that Mathilde would do what she asked: partly out of friendship, even more out of her fear of boredom.

What are we waiting for in this horrid little provincial town? Mathilde had said yesterday morning, I believe we are waiting, my dear, for the hero to die.

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As the local train drew into Domodossola station, Monsieur Hennequin opened the carriage door, ready to jump down on the platform. He was not impatient and he knew he had time to kill, but the more briskly he acted, the more certain he was of the correctness of his decision. A number of workers got out of the same train, but instead of making for the exit they crossed the lines towards the shunting yards. There were no cabs waiting outside the station and he could only see one other person at the far end of the Corso.

He passed his hand over his side pocket to satisfy himself once again that the automatic pistol, to obtain which he had made the tedious night journey, was solidly there. Its solidity, like the briskness of his actions, acted as a confirmation; it was like hearing an acquaintance say of him: Maurice acted calmly and firmly.

Passing the hotel, he looked up at his own bedroom window and remembered Camille’s taunt about fighting a duel. It was the traditional time of day for duels and for executions. He told himself that after a night without sleep, in the early morning, before the day for most people had begun, you might have an unusual sense of your own destiny.

He walked into the old centre of the town where there is an irregularly shaped piazza and the pavement in front of the shops is arcaded. The blackboard on which was written last night’s medical bulletin concerning Chavez had been placed under the arcades in case it rained during the night. The writing was smudged at one corner. The instability and irregularity of the patient’s cardiac functions give rise to continuing anxiety …

The shop windows under the arcades had large wooden shutters folded across them. They were painted green, but because they had been painted on different occasions, each had its own distinctive shade. Above the shutters were the shop signs. Several family names occurred more than once over different shops. When the shops were open, it was obvious from what was displayed in their windows that they were little more than poorly stocked stalls in a remote provincial town. But with their shutters up they looked different. It was possible to imagine that they were shops full of rare articles. Monsieur Hennequin walked several times round the arcade.

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