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'What do you want from me?' he yelled at her in whining and exasperated confusion.

- Что тебе от меня нужно? - завопил он с надрывом, в полном смятении.

'I didn't kill him.' She hurled a heavy glass ash tray at his head. He made a fist and wanted to punch her in the stomach when she came charging at him again, but he was afraid he might harm her. He wanted to clip her very neatly on the point of the jaw and run from the room, but there was no clear target, and he merely skipped aside neatly at the last second and helped her along past him with a strong shove. She banged hard against the other wall. Now she was blocking the door. She threw a large vase at him. Then she came at him with a full wine bottle and struck him squarely on the temple, knocking him down half-stunned on one knee. His ears were buzzing, his whole face was numb. More than anything else, he was embarrassed. He felt awkward because she was going to murder him. He simply did not understand what was going on. He had no idea what to do. But he did know he had to save himself, and he catapulted forward off the floor when he saw her raise the wine bottle to clout him again and barreled into her midriff before she could strike him. He had momentum, and he propelled her before him backward in his driving rush until her knees buckled against the side of the bed and she fell over onto the mattress with Yossarian sprawled on top of her between her legs. She plunged her nails into the side of his neck and gouged as he worked his way up the supple, full hills and ledges of her rounded body until he covered her completely and pressed her into submission, his fingers pursuing her thrashing arm persistently until they arrived at the wine bottle finally and wrenched it free. She was still kicking and cursing and scratching ferociously. She tried to bite him cruelly, her coarse, sensual lips stretched back over her teeth like an enraged omnivorous beast's. Now that she lay captive beneath him, he wondered how he would ever escape her without leaving himself vulnerable. He could feel the tensed, straddling inside of her buffeting thighs and knees squeezing and churning around one of his legs. He was stirred by thoughts of sex that made him ashamed. He was conscious of the voluptuous flesh of her firm, young-woman's body straining and beating against him like a humid, fluid, delectable, unyielding tide, her belly and warm, live, plastic breasts thrusting upward against him vigorously in sweet and menacing temptation. Her breath was scalding. All at once he realized-though the writhing turbulence beneath him had not diminished one whit-that she was no longer grappling with him, recognized with a quiver that she was not fighting him but heaving her pelvis up against him remorselessly in the primal, powerful, rhapsodic instinctual rhythm of erotic ardor and abandonment. He gasped in delighted surprise. Her face-as beautiful as a blooming flower to him now-was distorted with a new kind of torture, the tissues

- Я его не убивал!

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Уловка-22
Уловка-22

Джозеф Хеллер со своим первым романом «Уловка-22» — «Catch-22» (в более позднем переводе Андрея Кистяковского — «Поправка-22») буквально ворвался в американскую литературу послевоенных лет. «Уловка-22» — один из самых блистательных образцов полуабсурдистского, фантасмагорического произведения.Едко и, порой, довольно жестко описанная Дж. Хеллером армия — странный мир, полный бюрократических уловок и бессмыслицы. Бюрократическая машина парализует здравый смысл и превращает личности в безликую тупую массу.Никто не знает, в чем именно состоит так называемая «Поправка-22». Но, вопреки всякой логике, армейская дисциплина требует ее неукоснительного выполнения. И ее очень удобно использовать для чего угодно. Поскольку, согласно этой же «Поправке-22», никто и никому не обязан ее предъявлять.В роли злодеев выступают у Хеллера не немцы или японцы, а американские военные чины, наживающиеся на войне, и садисты, которые получают наслаждение от насилия.Роман был экранизирован М. Николсом в 1970.Выражение «Catch-22» вошло в лексикон американцев, обозначая всякое затруднительное положение, нарицательным стало и имя героя.В 1994 вышло продолжение романа под названием «Время закрытия» (Closing Time).

Джозеф Хеллер

Юмористическая проза

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