"Orson Scott Card - Unaccompanied Sonata by Orson Scott Card" - читать интересную книгу автора (Card Orson Scott)

Sugar shook his head. "I'm not a singer."
But Guillermo looked at him knowingly. "Not a singer, ha! Not a singer. A man without hands who refuses to sing is not a man who is not a singer. Hey?"
"What the hell did that mean?" asked the man who sang folk songs.
"It means that this man you call Sugar, he's a fraud. Not a singer! Look at his hands. All his fingers gone! Who is it who cuts off men's fingers?"
The road crew didn't try to guess. There were many ways a man could lose fingers, and none of them were anyone's business.
"He loses his fingers because he breaks the law and the Watchers cut them off! That's how a man loses fingers. What was he doing with his fingers that the Watchers
wanted him to stop? He was breaking the law, wasn't he?"
"Stop," Sugar said.
"If you want," Guillermo said, but the others would not respect Sugar's privacy.
"Tell us," they said.
Sugar left the room.
"Tell us," and Guillermo told them. That Sugar must have been a Maker who broke the law and was forbidden to make music any more. The very thought that a Makereven a lawbreaker-was working on the road crew with them filled the men with awe. Makers were rare, and they were the most esteemed of men and women.
"But why his fingers?"
"Because," Guillermo said, "he must have tried to make music again afterward. And when you break the law a second time, the power to break it a third time is taken away from you." Guillermo spoke seriously, and so to the road-crew men Sugar's story sounded as majestic and terrible as an opera. They crowded into Sugar's room and found the man staring at the wall.
"Sugar, is it true?" asked the man who loved Rogers and Hammerstein.
"Were you a Maker?" asked the man who believed.
"Yes," Sugar said.
"But Sugar," the man who believed said, "God can't mean for a man to stop making music, even if he broke the law."
Sugar smiled. "No one asked God."
"Sugar," Guillermo finally said, "There are nine of us on the crew, nine of us, and we're miles from any other human beings. You know us, Sugar. We swear on our mother's graves, every one of us, that we'll never tell a soul. Why should we? You're one of us. But sing, dammit man, sing! "
"I can't," Sugar said.
"It isn't what God intended," said the man who believed. "We're all doing what we love best, and here you are, loving
music and not able to sing a note. Sing for us! Sing with us! And only you and us and God will know!"
They all promised. They all pleaded.
And the next day as the man who loved Rogers and Hammerstein sang "Love, Look Away," Sugar began to hum. As the man who believed sang "God of Our Fathers," Sugar sang softly along. And as the man who loved folk songs sang, "Swing Low, Sweet Chariot," Sugar joined in with a strange, piping voice, and all the men laughed and cheered and welcomed Sugar's voice to the songs.
Inevitably Sugar began inventing. First harmonies, of course, strange harmonies that made Guillermo frown and then, after a while, grin as he joined in, sensing as best he could what Sugar was doing to the music.
And after harmonies, Sugar began singing his own melodies, with his own words. He made them repetitive, the words simple and the melodies simpler still. And yet he shaped them into odd shapes and built them into songs that had never been heard of before, that sounded wrong and yet were absolutely right. It was not long before the man who loved Rogers and Hammerstein and the man who sang folk songs and the man who believed were learning Sugar's songs and singing them joyously or mournfully or angrily or gaily as they worked along the road.
Even Guillermo learned the songs, and his strong tenor was changed by them until his voice, which had, after all, been ordinary, became something unusual' and fine. Guillermor finally said to Sugar one day, "Hey, Sugar, your music is all wrong, man. But I like the way it feels in my nose! Hey, you know? I like the way it feels in my mouth! "
Some of the songs were hymns: "Keep me hungry, Lord; ' Sugar sang, and the road crew sang it too.
Some of the songs were love songs: "Put your hands in someone else's pockets," Sugar sang angrily; "I hear your voice in the morning," Sugar sang tenderly; "Is it summer yet?" Sugar sang sadly; and the road crew sang them, too.
Over the months, the road crew changed, one man
leaving on Wednesday and a new man taking his place on Thursday, as different skills were needed in different places. Sugar was silent when each newcomer arrived, until the man had given his word and the secret was sure to be kept.
What finally destroyed Sugar was the fact that his songs were so unforgettable. The men who left would sing the songs with their new crews, and those crews would learn them and teach them to others. Crew men taught the songs in bars and on the road; people learned them quickly and loved them; and one day a blind Watcher heard the songs and knew, instantly, who had first sung them. They were Christian Haroldsen's music, because in those melodies, simple as they were, the wind of the north woods still whistled and the fall of leaves still hung oppressively over every note and-and the Watcher sighed. He took a specialized tool from his file of tools and boarded an airplane and flew to the city closest to where a certain road crew worked. And the blind Watcher took a company car with a company driver up the road, and at the end of it, where the road was just beginning to swallow a strip of wilderness, he got out of the car and heard singing. Heard a piping voice singing a song that made even an eyeless man weep.
"Christian," the Watcher said, and the song stopped.
"You," said Christian.
"Christian, even after you lost your fingers?"
The other men didn't understand-all the other men, that is, except Guillermo.
"Watcher," said Guillermo. "Watcher, he done no harm."
The Watcher smiled wryly. "No one said he did. But he broke the law. You, Guillermo, how would you like to work as a servant in a rich man's house? How would you like to be a bank teller?"
"Don't take me from the road crew, man," Guillermo said.
"It's the law that finds where people will be happy. But
Christian Haroldsen broke the law. And he's gone around ever since, making people hear music they were never meant to hear."
Guillermo knew he had lost the battle before it began, but he couldn't stop himself. "Don't hurt him, man. I was meant to hear his music. Swear to God, it's made me happier."
The Watcher shook his head sadly. "Be honest, Guillermo. You're an honest man. His music's made you miserable, hasn't it? You've got everything you could want in life, and yet his music makes you sad. All the time, sad."
Guillermo tried to argue, but he was honest, and he looked into his own heart. And he knew that the music was full of grief. Even the happy songs mourned for something; even the angry songs wept; even the love songs seemed to say that everything dies and contentment is the most fleeting of things. Guillermo looked in his own heart, and all Sugar's music stared back up at him; and Guillermo wept.
"Just don't hurt him, please," Guillermo murmured as he cried.
"I won't," the blind Watcher said. Then he walked to Christian, who stood passively waiting, and he held the special tool up to Christian's throat. Christian gasped.
"No," Christian said, but the word only formed with his lips and tongue. No sound came out. Just a hiss of air. No.
"Yes," the Watcher said.
The road crew watched silently as the Watcher led Christian away. They did not sing for days. But then Guillermo forgot his grief one day and sang an aria from La Boheme, and the songs went on from there. Now and then they sang one of Sugar's songs, because the songs could not be forgotten.