Christopher Sorrentino - Trance

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Trance: краткое содержание, описание и аннотация

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1974: A tiny band of self-styled urban guerrillas, calling itself the Symbionese Liberation Army, abducts a newspaper heiress, who then abruptly announces that she has adopted the guerrilla name "Tania" and chosen to remain with her former captors. Has she been brainwashed? Coerced? Could she be sincere? Why would such a nice girl disavow her loving parents, her adoring fiance, her comfortable home? Why would she suddenly adopt the SLA's cri de coeur, "Death to the Fascist Insect that Preys Upon the Life of the People"? Soon most of the SLA are dead, killed in a suicidal confrontation with police in Los Angeles, forcing Tania and her two remaining comrades-the pompous and abusive General Teko and his duplicitous lieutenant, Yolanda-into hiding, where they will remain for the next sixteen months.
"Trance," Christopher Sorrentino's mesmerizing and brilliant second novel, traces this fugitive period, leading the reader on a breathtaking, hilarious, and heartbreaking underground tour across a beleaguered America, in the company of scam artists, visionaries, cultists, and a mismatched gang of middle-class people who typify the guiding conceit of their time, that of self-renovation. Along the way he tells the story of a nation divided against itself-parents and children, men and women, black and white; a story of hidebound tradition and radical change, of truth and propaganda, of cynicism and idealism; a story as transfixing and relevant today as it was then.
Insightful, compassionate, scathingly funny, and moving, "Trance" is a virtuoso performance, placing Christopher Sorrentino in the first rank of American novelists.

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Tania said that what they needed was to break out the Polaroid Pronto and take plenty of clear, crisp SX-70 pictures. Why? So he could look twice at everything, once to live it and again to try to understand, she said.

Typically for her, it was just apolitical enough to make perfect sense while seeming like a non sequitur.

You took the picture, you listened to the motor whine as it ejected the print, and then you held it by the one-inch border at the bottom, shaking it to get it to develop faster. She’d demonstrated, waving dry a snapshot of a grinning Cujo who looked just a little too much like Willie Wolfe, the all-American boy.

It was also apolitical enough to enrage Cinque, who only liked to use the camera these days to take heroic pictures of their army, the seven-headed Naga banner pinned to the wall behind them.

General Gelina cut his hair that afternoon. Gelina breached security to remove the surveillance drapes from the window over the sink and let a little daylight in. A towel was draped over his shoulders, and he sat cross-legged on the kitchen floor, watching his damp hair fall to the cracked linoleum.

It was quiet that day, with Teko, Yolanda, and Tania gone. He wanted to talk about Tania but didn’t know how to go about it. He shifted restlessly. There were other things to talk about, but he didn’t want to talk about them. The arrow of his consciousness flew directly to her.

Gelina understood, he thought. He and she and Tania were what he once would have thought of as “friends,” though the bourgeois connotations of the term could be quite simply mind-boggling, as could be the bourgeois connotations of almost anything. He had never realized how hard it was just to live.

Anyway, Gelina was a comrade, a very sympathetic and intuitive comrade, and as she snipped his hair, cutting away the remains of the bright red dye job that had so bothered Tania, guiding his head into position with gently prodding fingers, she gradually brought the conversation around to where he wanted it.

“I think your comrades will appreciate your new look,” she said.

“One comrade,” said Cujo.

From behind him he could hear Gelina sharply expelling breath through her nose, an understanding laugh.

“Sometimes a pretty effective costume isn’t what you’d call the most suitable,” she said, holding out a clipped lock of dyed hair for their scrutiny. “In acting, you learn how to get past it, get outside the sense of yourself to play a role you couldn’t ordinarily identify with.”

“As a guerrilla I could definitely appreciate the costume.” Cujo nodded as Gelina paused, scissors upraised, allowing him his gesture. “But as a man …” Cujo let the sentence hang.

Gelina began cutting hair again. “Hasn’t anyone been feeling comradely toward you lately?” She sounded amused.

“Well …”

“Sometimes some people feel more comradely than others,” she continued. “I see you gave Tania that little stone monkey face, the whatchamacallit. It’s cute.”

Cujo blushed. “The Olmec monkey. It’s Mexican.”

And Gelina very exaggeratedly put her hand to one side of her mouth, as if to shield her speech from eavesdroppers, and said in a stage whisper, “Sometimes when the heart speaks, you gotta listen. The bourgeois aren’t wrong about everything , you know.”

Cujo nodded.

“Some people shouldn’t talk,” she said.

“Like Gabi and Zoya and all their dykey dramatics. I mean, come on, what, is this a soap opera?” she said.

“Like you-know-who and you-know-who whose last name rhymes with Shepard, give me a break. It’s like The Honeymooners . You remember The Honeymooners?” she said.

Cujo agreed. “Yeah, Tania was saying, like, this is a big problem.”

“Oh, I can see how it would be for her. I really relate. I’m so glad I’m not on their team. Anyway.”

Gelina dipped a comb in a basin of water and ran it through Cujo’s freshly cut hair. Gradually, over the last few weeks, the awkward postadolescent had repossessed him. First he’d ditched the beret, then the wispy experiments with Ché-like facial hair. Now he sat, slunched forward, clean-cut and shorn, a silly smirk on his smooth face.

“All finished, hon.”

After the haircut Cin called Gelina to bed, and Cujo stayed sitting on the kitchen floor because he didn’t feel like watching them fuck. He felt lonely and blue and wanted Tania to come home so he could surprise her with his new hair. He dozed off.

It was about six o’clock in the evening when there came a knock at the door of the house on Eighty-fourth Street. A pretty odd thing to be happening at a secret hideout, thought Cujo, as he came awake. The phrase, secret hideout, just appeared in his thoughts from out of the past, the days when he was Willie Wolfe; from out of backyard stands of elms and sycamores and maples and other craggy trees of the Northeast, kids in striped tees and jeans and U.S. Keds scrabbling through, heading for some crude structure of plywood and two-by-fours, secret doings under the high armadas of furrowed cumulus drifting through a honed October sky and the wind shaking leaves from the trees, the explorations of that after-school wilderness ca 1963 fueled by Tang and Twinkies, Ovaltine and Oreos, ammonium nitrate and fuel oil.

Wait a second. Huh? He was still waking up.

Ammonium nitrate and fuel oil were well-known as primary components of homemade explosives. The thought excited him, the thought of a bomb factory , another piquant phrase.

A knocking, an insistent knocking on the door in this tough neighborhood, where it paid to be what was the word? Reticent. Circumspect. His lips formed the name: Tania.

More of a thudding, now, the ham of an impatient fist striking the door: not Tania.

Back when Cujo was Willie Wolfe, when he was falling out of trees and kissing Amy Alderson on her sun porch and serving as sports editor for the Mount Hermon Clarion and swimming varsity, his dad, Skip, was the one who strode to the door in response to the chimes, brimming with authority. Young Willie had watched this banal act about a thousand times, slumped on the sofa or wherever he happened to be when it came to pass that Sally Brooks arrived to collect for the Shriners or Santo the gardener needed to get into the basement or little Kerry Sherman came around with her Girl Scout cookies and had never thought twice about it. And now here he was, Cassandra’s “my brother the Communist,” and was he supposed to draw his gun and take cover or answer the knock?

But it was a safe house and he was not Cassandra’s weird little brother anymore; now he was a revolutionary, committed, divested of emotional baggage and material wealth. But as soon as Cujo began thinking of his dad, his family, the jig was up; he was a basket case, meditating deeply on a loss that was politically incorrect to mourn and that marked a definite reduction of himself.

Cinque came in from the other room, sleepy, stiff-legged and bare-chested. Hitching his pants, he stuck a revolver in the waistband, undid the locks, and opened the door. Just like that. And Cujo watched, mouth agape.

It was Prophet Jones, come to call, six foot five and solid as a cannonball. Prophet Jones had first shown up late on the first night to check out his new tenants, scrutinize them in the wavering candlelight that illuminated the doleful space of the two rooms. He’d reminded them to lay low. Prophet Jones thought Fahizah might not have taken very seriously his earlier suggestion to that effect, made when she’d rented the place from him. He scolded them and criticized and looked from face to face, but mostly he stood looking down at Cinque while he did it. Cujo was in awe. Prophet Jones dressed down the Field Marshal as if he’d been just anybody. But he knew Cin was bound to respect him. It was the mutual respect that was only natural between a brother and a freedom fighter. Prophet Jones talked, and they all listened. Cujo loved that cadence; it jangled him right down to the white of his bones, set the marrow vibrating. Fungg-kayy! He loved the man’s name. He loved Fahizah’s story of the Malcolm and Huey posters on his walls, of his poised nonchalance when, in an effort to prove that she was indeed a general in the SLA, she’d pulled her submachine gun out of the Ralph’s shopping bag she was carrying.

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