Colum McCann - Zoli

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Zoli: краткое содержание, описание и аннотация

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The novel begins in Czechoslovakia in the early 1930s when Zoli, a young Roma girl, is six years old. The fascist Hlinka guards had driven most of her people out onto the frozen lake and forced them to stay there until the spring, when the ice cracked and everyone drowned – Zoli's parents, brothers and sisters. Now she and her grandfather head off in search of a 'company'. Zoli teaches herself to read and write and becomes a singer, a privileged position in a gypsy company as they are viewed as the guardians of gypsy tradition. But Zoli is different because she secretly writes down some of her songs. With the rise of the Nazis, the suppression of the gypsies intensifies. The war ends when Zoli is 16 and with the spread of socialism, the Roma are suddenly regarded as 'comrades' again. Zoli meets Stephen Swann, a man she will have a passionate affair with, but who will also betray her. He persuades Zoli to publish some of her work. But when the government try to use Zoli to help them in their plan to 'settle' gypsies, her community turns against her. They condemn her to 'Pollution for Life', which means she is exiled forever. She begins a journey that will eventually lead her to Italy and a new life. Zoli is based very loosely on the true story of the Gypsy poet, Papsuza, who was sentenced to a Life of Pollution by her fellow Roma when a Polish intellectual published her poems. But Colum has turned this into so much more – it's a brilliantly written work that brings the culture and the time to life, an incredibly rich story about betrayal and redemption, and storytelling in all its guises.

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She took my arm and walked me across the camp: You have the eyes of a little devil, she said.

She laughed and spun me round in the air and later told me to sit with her as she brushed the color onto her fingernails. Her words were quick and clipped. Eliska had fallen in love with a young man named Vashengo and soon she would marry. She said she would teach me an old song that I could sing at their wedding. Hers were the old laments I already knew, but then she taught me a new one. I will fill the empty cup, it is not so hollow anymore, I will fill it with wine, it will come from the palm of your hand. I learned it quickly and wandered around the camp singing it, until Vashengo said: Please shut up, you'll drive me to the nuthouse. I sang another verse and he clipped me on the ear. Eliska whispered to me that I was all right, not to worry, pay no attention to the men, they wouldn't know a good song if it kissed them on the lips. Come here, she said, and I'll braid your hair like your mother used to. How do you know how my mother braided my hair? I asked. It's a secret, she said. I began to cry, so she said: Oh your mother was famous for many things, most of all she was a great singer.

She leaned down to my ear and sang, and the songs grew and grew, and she took my face in her hands and kissed my forehead. Pity about your eye, said Eliska, otherwise you'd be as pretty as she was.

It was my talent that I could remember words and phrases, and so I was kept up late at night to listen to the songs. Sometimes they shifted and rolled and changed. If the women were swaying with cucu, they could not remember where the song had led the night before. They said to me: Zoli, what did I sing? And I would say: They broke, they broke my little brown arm, now my father he cries like the rain. Or I would say: I have two husbands, one of them sober, one of them drunk, but each one Hove the same. Or I sang: I want no shadow to fall upon your shadow, your shadow is dark enough for me. They smiled when these words came out of my mouth and told me again that I had the look of my mother. At night I fell to sleep thinking of her. I pictured her in my mind, she had a row of perfect teeth except for a bottom one missing.

It is strange now to talk of such things, but these are the moments I remember, chonorroeja, this was my childhood, I try to tell it to you as I saw it then, and as I felt it then, when I was not yet shunned, when it was all still free and open to me, and for the most part it was happy. The Great War hadn't yet begun and, although the fascists sometimes hunted us to give us another dose of their hatred-we were no more than wild animals to them-we settled as far away from them as possible, kept to our own ways, and made music where we could. That, back then, was enough.

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In the new camp there was another girl the same age as me. Conka had red hair and freckles in a band across her nose. Her mother had sewn a string of pearls in her hair. Her dresses were threaded with silver, and she had the most beautiful voice of all, so she too was kept awake at night to sing. The canvas flap of the singing tent was pulled back for us. We stood on buckets so we could be seen. Grandfather shoved his hat back on his head and lit up a smoke. Everyone gathered in a half circle around us. The women played the harps at a furious pace, once or twice they bent a fingernail backwards in the strings, but still they kept going.

My voice was not as sweet as Conka's, but Grandfather said that it hardly mattered, the important thing was the right word, to pull it out, or squeeze it short, and then dress it up with air from my lungs. When we sang, Conka and I, he said that we were air and water in a pot and together we boiled.

In the nighttime, we tried to fall asleep by the fire, but our favorite stories kept us up late and when a story was really good we had no legs to hold us up. Her father slapped us and told us to go to our beds, we'd waken the dead. Grandfather carried me and put me beneath the eiderdown where my mother had once stenciled a harp using thread that came from cottonwood trees.

One evening, Grandfather carried home a carpet of a man's face, and he hung it on the wall above the drawer full of knives. It was a portrait of a man with a gray beard, a strange gaze, and a high forehead. It's Vladimir Lenin, he said. Don't tell a soul, you hear me, especially the troopers if they come along. Later that week he bought a second carpet-this one was the Holy Virgin. He rolled the Virgin into a tight circle with string, and positioned her above Lenin, so that if a stranger came into the caravan, he could reach up with his knife and cut the string and the Holy Virgin would come down on top of Lenin in a rush. Grandfather thought it hilarious and sometimes he cut the string just for fun, and if he was drunk he would talk to their faces and call them the greatest of bedfellows. If there was a rumble outside in the camp, he would quickly cut the string and shove his leather-bound book into a hidden pocket at the back of his jacket. Then he stood outside with his arms crossed and a scowl on his face.

He would sooner have invited in typhus than a trooper.

If they forced a check on us they pushed their way past him without asking, stomped their boots on the floor, but they never found Lenin or the book. They tore the place up and tossed teacups to one another. From outside we could hear the smashing, but what was there to do, we just waited until they came out, down the steps, their boots shiny at the knees and scuffed at the toes.

When they were gone, we cleaned the mess, and Grandfather rolled up the Virgin again, let Lenin look out once more.

Grandfather went to the Poprad market one day and didn't come back for four more. He had built a wall for a man who had given him a wireless radio. He carried it into the camp with great fanfare, put it down by the fire, and music jumped out. Vashengo's father came to look at it. He liked the music indeed and everyone gathered around and fiddled with the knobs. But in the morning, a group of elders came and said they didn't like the children listening to outsiders. It's only a radio, said Grandfather. Yes, they said, but the talk is immodest. Grandfather took Vashengo's father by the arm and they walked down by the river and worked out a plan: he would only listen to music and not the other shows. Grandfather took it with us to our caravan, turned it very low, and listened anyway. It's my duty to know, he said, and he ran the little yellow dial along the glass panel, Warsaw, Kiev, Vienna, Prague, and the one he loved the most, though it didn't get any sound: Moscow.

One day I heard him slam down the wooden backing on the ground: This bloody thing needs batteries, can you imagine that?

He came back a couple of days later with a sack full of batteries over his shoulder and his clothes covered in flecks of gray. He told us that the gadze now wanted walls held together with cement-all his other walls he had built with rocks and air-but if that's what he had to do for batteries, that's what he had to do.

Soon everyone grew to like the radio. Mostly we listened to music, but every now and then government voices came through. In the caravan, Grandfather tuned it in to whatever he could find, all the different languages. He spoke five-Romani, Slovak, Czech, Magyar, and a little Polish-though Eliska said he should forget all that red gibberish, he sounded the same in every language, he should come back in the next life as a loudspeaker strung up on a lamppost. He said that loudspeakers were fascist and just you wait, you black-haired chovahanio, you witch, when the good ones, the Communists, finally get power. She shouted at him that she couldn't hear him, that she must have been asleep when he was talking. He shouted back: What the hell did you say, woman? I thought that Eliska might lift her skirt to shame him, but she did not, she just turned away. She got a lash of his tongue, and he said something rude about her little enamel brush and where she could sweep it. Soon everyone began laughing and joking and it was forgotten.

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