Читать книгу The Favourite Game - Leonard Cohen - Страница 11

Here is a movie filled with the bodies of his family.

His father aims the camera at his uncles, tall and serious, boutonnières in their dark lapels, who walk too close and enter into blurdom.

Their wives look formal and sad. His mother steps back, urging aunts to get into the picture. At the back of the screen her smile and shoulders go limp. She thinks she is out of focus.

Breavman stops the film to study her and her face is eaten by a spreading orange-rimmed stain as the film melts.

His grandmother sits in the shadows of the stone balcony and aunts present her with babies. A silver tea-set glows richly in early Technicolor.

His grandfather reviews a line of children but is stopped in the midst of an approving nod and ravaged by a technical orange flame.

Breavman is mutilating the film in his efforts at history.

Breavman and his cousins fight small gentlemanly battles. The girls curtsy. All the children are invited to leap one at a time across the flagstone path.

A gardener is led shy and grateful into the sunlight to be preserved with his betters.

A battalion of wives is squeezed abreast, is decimated by the edge of the screen. His mother is one of the first to go.

Suddenly the picture is shoes and blurred grass as his father staggers under another attack.

‘Help!’

Coils of celluloid are burning around his feet. He dances until he is saved by Nursie and the maid and punished by his mother.

The movie runs night and day. Be careful, blood, be careful.