В первые годы замужества единственным ее развлечением были разговоры с горничной, да и потом, когда вместо одной служанки стало три, она общалась исключительно с прислугой...
Агата Кристи
«Тайна Семи циферблатов»
Джоди повиновался ему беспрекословно. Карл Тифлин сел за стол и пододвинул к себе сковородку с яичницей. - Ну как. Билли, где у тебя коровы? - спросил он...
Джон Стейнбек (John Steinbeck)
«Подарок»
Мы все оставляли записки, в то утро. Еще до рассвета. Спускались на цыпочках по темным лестницам, каждый со своим чемоданом, потом проходили крадучись по темным улицам в компании только мусорных машин...
Чак Паланик (Charles Michael Palahniuk)
«Призраки»
Смотрите также:
Алексей Зверев. Книга на завтра. Франц Кафка. Дневники
Павел Воронков. В отчаянии. Жизнь Франца Кафки
Иван Толстой, Аннотация к книге Геральда Салфеллнера Франц Кафка и Прага
Александр Куранов. Франц Кафка
Франц Кафка-Густав Яноух, Из разговоров Густава Яноуха с Францем Кафкой
Метаметафора в творчестве Франца Кафки
Исследование концептуальных метафор на примере новелл Франца Кафки
«Америка», закладка на странице 1 (прочитано 0%)
«Замок», закладка на странице 1 (прочитано 0%)
«Процесс», закладка на странице 1 (прочитано 0%)
«Die Verwandlung», закладка на странице 1 (прочитано 0%)
«В поселении осужденных», закладка на странице 1 (прочитано 0%)
«Искусство голодания», закладка на странице 1 (прочитано 0%)
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Тем временем:
... Between artists
and cultured socialists, Constance and her sister Hilda had had what might
be called an aesthetically unconventional upbringing. They had been taken to
Paris and Florence and Rome to breathe in art, and they had been taken also
in the other direction, to the Hague and Berlin, to great Socialist
conventions, where the speakers spoke in every civilized tongue, and no one
was abashed.
The two girls, therefore, were from an early age not the least daunted
by either art or ideal politics. It was their natural atmosphere. They were
at once cosmopolitan and provincial, with the cosmopolitan provincialism of
art that goes with pure social ideals.
They had been sent to Dresden at the age of fifteen, for music among
other things. And they had had a good time there. They lived freely among
the students, they argued with the men over philosophical, sociological and
artistic matters, they were just as good as the men themselves: only better,
since they were women. And they tramped off to the forests with sturdy
youths bearing guitars, twang-twang! They sang the Wandervogel songs, and
they were free. Free! That was the great word. Out in the open world, out in
the forests of the morning, with lusty and splendid-throated young fellows,
free to do as they liked, and---above all---to say what they liked. It was
the talk that mattered supremely: the impassioned interchange of talk. Love
was only a minor accompaniment.
Both Hilda and Constance had had their tentative love-affairs by the
time they were eighteen. The young men with whom they talked so passionately
and sang so lustily and camped under the trees in such freedom wanted, of
course, the love connexion. The girls were doubtful, but then the thing was
so much talked about, it was supposed to be so important. And the men were
so humble and craving. Why couldn't a girl be queenly, and give the gift of
herself?
So they had given the gift of themselves, each to the youth with whom
she had the most subtle and intimate arguments. The arguments, the
discussions were the great thing: the love-making and connexion were only a
sort of primitive reversion and a bit of an anti-climax...
Лоуренс Герберт (Lawrence Herbert)
«Lady Chatterley's Lover»
