Читаем The Spiked Heel полностью

They went to a place called Skippy’s, and Griff was surprised to find it packed to the eyeballs, in spite of the rain. Their waiter took them to a table too close to the bandstand, but there was nothing else available, and they realized all the places along Central Avenue would probably be just as crowded. There was a good deal of noise in Skippy’s, and a good deal of smoke, and when the band started playing, they could barely hear each other speak. They fled to the dance floor. The floor was jampacked. Cara felt good in his arms, but it was almost impossible to dance, and he felt hot and awkward and clumsy. She was pressed tight against him, her body molded against his. He could feel the mounds of her breasts through the thin dress she was wearing, and below that the firmness of her stomach. He realized abruptly that no one on the floor was really dancing. It was a sort of vertical fornication exhibition, and the thought embarrassed him and he sensed Cara’s embarrassment at the same moment. It was as if they had been stripped naked and thrown against each other. Her body against his did not excite him; his embarrassment squashed any excitement he might have ordinarily felt, making him feel like a degenerate in a crowded subway car. He wondered if Cara thought he was enjoying this, and he wanted to say something about it, but he figured any mention of it would only aggravate the situation. For a brief moment, there was an open spot on the dance floor. He moved into it, and Cara pulled her body from his gently, and then the spot closed in upon them, shoving her against him with rude forcefulness, exaggerating their nakedness.

“We’d better sit down,” he said.

She nodded and smiled tremulously, but there was something of accusation in the smile. They fought their way back to the table, and he grasped for his drink anxiously.

The trumpet player blasted away at his back.

“It’s pretty crowded,” he shouted.

“Yes,” she said. She seemed to want to adjust her clothes, like a prostitute after a brief tussle in bed with a stranger.

“I had no idea—” he started, but a trombone behind him ended the sentence for him in a throaty growl which seemed never to finish. He waited until the piano chorus, and then he said, “This is a good night to get pleasantly looped, don’t you think?”

“It might not be a bad idea,” she said, and then she sighed a curiously forlorn sigh.

They began drinking in earnest. There was a feverishness about the way they drank. It was as if they both realized this evening was going to be a bust, and they had to do something about it, and damned fast. They had to dull their senses, they had to weave a fantasy which did not exist, they had to become a part of something they had both expected and which somehow had not materialized. They drank quickly, hardly tasting what they drank, drinking because they wanted to get as high as possible as soon as possible. And perhaps because they drank so determinedly, their drunkenness was a long time coming, and even when it came, it produced a forced gaiety which was as strained as their earlier sobriety had been. The liquor put a high flush on Cara’s face, and it darkened the brownness of her eyes, giving her a somewhat feral expression which she had not worn at the start of the evening.

“What’s the use?” she said to him thickly.

“What’s what use?” he answered.

“What’s the use?” she repeated, leaning over the table toward him. “You get a pattern, and then you got a pattern.”

“You talking about shoes?” he asked, trying to keep her in focus.

“People,” she said. “I’m talking about people.”

“What about people?”

“You’re a doll,” she said. “Mmmm, you’re a doll,” and there was something savage in her face now. Her lips were skinned back over her teeth, and her eyes held his unwaveringly. “Dance with me, doll,” she said.

He looked at the animal expression on her face, and he told himself he was imagining the look. It was harsh and cold and in some way he could not make out it was curiously related to the expression he had noticed the first time he met her.

“Come,” she said, “dance.” The word escaped her lips like a hiss. “Dance with me. Dance with me.”

Перейти на страницу:

Похожие книги

Коммунисты
Коммунисты

Роман Луи Арагона «Коммунисты» завершает авторский цикл «Реальный мир». Мы встречаем в «Коммунистах» уже знакомых нам героев Арагона: банкир Виснер из «Базельских колоколов», Арман Барбентан из «Богатых кварталов», Жан-Блез Маркадье из «Пассажиров империала», Орельен из одноименного романа. В «Коммунистах» изображен один из наиболее трагических периодов французской истории (1939–1940). На первом плане Арман Барбентан и его друзья коммунисты, люди, не теряющие присутствия духа ни при каких жизненных потрясениях, не только обличающие старый мир, но и преобразующие его.Роман «Коммунисты» — это роман социалистического реализма, политический роман большого диапазона. Развитие сюжета строго документировано реальными историческими событиями, вплоть до действий отдельных воинских частей. Роман о прошлом, но устремленный в будущее. В «Коммунистах» Арагон подтверждает справедливость своего убеждения в необходимости вторжения художника в жизнь, в необходимости показать судьбу героев как большую общенародную судьбу.За годы, прошедшие с момента издания книги, изменились многие правила русского языка. При оформлении fb2-файла максимально сохранены оригинальные орфография и стиль книги. Исправлены только явные опечатки.

Луи Арагон

Роман, повесть
~А (Алая буква)
~А (Алая буква)

Ему тридцать шесть, он успешный хирург, у него золотые руки, репутация, уважение, свободная личная жизнь и, на первый взгляд, он ничем не связан. Единственный минус — он ненавидит телевидение, журналистов, вообще все, что связано с этой профессией, и избегает публичности. И мало кто знает, что у него есть то, что он стремится скрыть.  Ей двадцать семь, она работает в «Останкино», без пяти минут замужем и она — ведущая популярного ток-шоу. У нее много плюсов: внешность, характер, увлеченность своей профессией. Единственный минус: она костьми ляжет, чтобы он пришёл к ней на передачу. И никто не знает, что причина вовсе не в ее желании строить карьеру — у нее есть тайна, которую может спасти только он.  Это часть 1 книги (выходит к изданию в декабре 2017). Часть 2 (окончание романа) выйдет в январе 2018 года. 

Юлия Ковалькова

Роман, повесть
Судьба. Книга 1
Судьба. Книга 1

Роман «Судьба» Хидыра Дерьяева — популярнейшее произведение туркменской советской литературы. Писатель замыслил широкое эпическое полотно из жизни своего народа, которое должно вобрать в себя множество эпизодов, событий, людских судеб, сложных, трагических, противоречивых, и показать путь трудящихся в революцию. Предлагаемая вниманию читателей книга — лишь зачин, начало будущей эпопеи, но тем не менее это цельное и законченное произведение. Это — первая встреча автора с русским читателем, хотя и Хидыр Дерьяев — старейший туркменский писатель, а книга его — первый роман в туркменской реалистической прозе. «Судьба» — взволнованный рассказ о давних событиях, о дореволюционном ауле, о людях, населяющих его, разных, не похожих друг на друга. Рассказы о судьбах героев романа вырастают в сложное, многоплановое повествование о судьбе целого народа.

Хидыр Дерьяев

Проза / Роман, повесть / Советская классическая проза / Роман