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William Maxwell: So Long, See You Tomorrow

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William Maxwell So Long, See You Tomorrow

So Long, See You Tomorrow: краткое содержание, описание и аннотация

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This Orange Inheritance Edition of is published in association with the Orange Prize for Fiction. Books shape our lives and transform the way we see ourselves and each other. The best books are timeless and continue to be relevant generation after generation. Vintage Classics asked the winners of the Orange Prize for Fiction which books they would pass onto the next generation and why. Ann Patchett chose . In rural Illinois, two tenant farmers share much, finally too much, until jealously leads to murder and suicide. A tenuous friendship between lonely teenagers — the narrator, whose mother has died young, and Cletus Smith, the troubled witness to his parent’s misery — is shattered. After the murder and upheavals that follow, the boys never speak again. Fifty years on, the narrator attempts a reconstruction of those devastating events and the atonement of a lifetime’s regret. "The novel comes from a place so deep inside the human soul that I cannot imagine a time its wisdom would not feel fresh and applicable."-Ann Patchett

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Did he go home and tell his mother? And did they then pack up and move to another part of Chicago to get away from me?

If I'd had the presence of mind to say, "You don't have to worry, I won't tell anybody," would they have been able to stay where they were? Would his mother have trusted a fifteen-year-old boy to keep such a promise, even if I had made it?

Sometimes I almost remember passing him in the school corridors afterward. And I think, though I am not at all sure of this, that I can remember being happy that I was keeping his secret. Which must mean that he was there, that we continued to pass each other in the halls, that he didn't move away. But if he had stayed on at that school, sooner or later we would have been in the same classroom, and I know that we weren't.

Five or ten years have gone by without my thinking of Cletus at all, and then something reminds me of him — of how we played together on the scaffolding of that half-finished house. And suddenly there he is, coming toward me in the corridor of that enormous high school, and I wince at the memory of how I didn't speak to him. And try to put it out of my mind.

One day last winter, plagued by guilt, I brought down from the attic a grocery carton stuffed with old papers, diplomas, newspaper clippings, letters from college friends I haven't seen for thirty or forty years, and so on, and went through it until I found my high-school yearbook. The photographs of the graduating class are arranged in vertical panels, fifteen oval likenesses to a page. Cletus ought to have been between Beulah Grace Smith and Sophie Sopkin and he isn't. If he had been, I would, I think, have been able to put him out of my mind forever. I went through the yearbook carefully from cover to cover looking for him. He isn't in any group picture or on any list of names.

There is a limit, surely, to what one can demand of one's adolescent self. And to go on feeling guilty about something that happened so long ago is hardly reasonable. I do feel guilty, even so. A little. And always will, perhaps, whenever I think about him. But it isn't only my failure that I think about. I also wonder about him, about what happened to him. Whether he was spared the sight of his father's drowned body. Whether after a while he and his mother were able to look at each other without embarrassment. Whether he had as lonely a time as I did when he first moved to Chicago. And whether the series of events that started with the murder of Lloyd Wilson — whether all that finally began to seem less real, more like something he dreamed, so that instead of being stuck there he could go on and by the grace of God lead his own life, undestroyed by what was not his doing.

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