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King - Truth and Bright Water

Here you can read online King - Truth and Bright Water full text of the book (entire story) in english for free. Download pdf and epub, get meaning, cover and reviews about this ebook. year: 2014, publisher: HarperCollins Canada, genre: Detective and thriller. Description of the work, (preface) as well as reviews are available. Best literature library LitArk.com created for fans of good reading and offers a wide selection of genres:

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King Truth and Bright Water

Truth and Bright Water: summary, description and annotation

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With a plethora of superb reviews and upcoming publication in the US, Thomas Kings latest work affirms him as one of our wittiest and wisest writers. Truth & Bright Water is the tale of two young cousins and one long summer. Tecumseh and Lum live in Truth, a small American town, and Bright Water, the reserve across the border and over the river. Family is the only reason most of the people stay in the towns, and yet old secrets and new mysteries keep pulling the more nomadic residents back to the fold. Monroe Swimmer, famous Indian artist, returns to live in the old church with the hope of painting it into the prairie landscape and re-establishing the buffalo population. Tecumsehs Aunt Cassie has come back too, already arguing with his mother. Why has his mother given Cassie a suitcase full of baby clothes And why is Lum interested only in winning the Indian Days race Tecumseh has more questions than anyone will answer, until the Indian Days festival arrives and the mysteries of the summer collide in love, betrayal and reconciliation. Equally plainspoken and poetic, comic and poignant, Truth & Bright Water is a crackling good story that resonates with universal truths.

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For my mother.

The dissertation was never enough.

T he river begins in ice.

Grey-green and frozen with silt, the Shield shifts and breaks out of the mountains in cataracts and cascades, fierce and alive. It plunges into chasms and dives under rock shelves, but as the river leaves the foothills and snakes across the belly of the prairies, the water warms and deepens, and splits the land in two.

Truth and Bright Water sit on opposite sides of the river, the railroad town on the American side, the reserve in Canada. Above the two towns, the Shield is fat and lazy, doubling back on itself in long silver loops as it wanders through the coulees. But as the river comes around the Horns, it narrows and drops into the deep chutes beneath the bridge. It gathers speed here, swings in below the old church, and runs dark and swift for half a mile until the land tilts and the water slows and drains away towards Prairie View and the morning sun.

At a distance, the bridge between Truth and Bright Water looks whole and complete, a pale thin line, delicate and precise, bending over the Shield and slipping back into the land like a knife. But if you walk down into the coulees and stand in the shadows of the deserted columns and the concrete arches, you can look up through the open planking and the rusting webs of iron mesh, and see the sky.

The church sits on a rise above Truth, overlooking the river and the bridge. Built at the turn of the century, it is a plain, squarish building with a raised porch, high windows, and a dark steeple that leans slightly to one side. Instead of being long and sharp with a hard pitch like the steeple on the big Presbyterian church in Prairie View, this steeple is squat and flat with a set and angle that make it look as if a thick spike has been driven through the church itself and hammered into the prairies.

The church was built by the Methodists as a mission to the Indians. The Baptists owned it for a while in the forties. They sold it to the Nazarenes, who sold it to the First Assembly of God, who sold it to the Sacred Word Gospel, who left the church standing empty and moved down the river to Prairie View just after construction on the bridge stopped.

By then, the roof was missing most of its shingles, and the clapboard siding was cupped and pitted. The north side had been completely stripped by the cold and the wind, leaving an open wound of wood that had scabbed over grey and brittle. To the west and the south, the paint that was left had blistered and split and curled up in twists like pigs tails.

But on days when the sky surges out of the mountains, gun-metal and wild, and the wind turns the grass into a tide, if you stand on the river bottom looking up at the bluff, you might imagine that what you see is not a church gone to hell but a ship leaned at the keel, sparkling in the light, pitching over the horizon in search of a new world.

The Horns, like Truth and the old church, are on the American side of the river, twin stone pillars that rise up from the water and meet to form a shaggy rock crescent that hangs over the river like the hooked head of a buffalo. It is an old place, silent and waiting, and from the high curved shelf of the outcrop, you can turn into the wind and feel the earth breathing or watch the Shield glow black and bright, as the evening shadows run out across the land like ribbons in a breeze.

In daylight, the river valley is bright and dry, wolf willow and cottonwood. Seagulls crowd the tops of the coulees, thrown up into the air like kites, while between the cutbanks, squadrons of pelicans skim the face of the river, single file, searching for their reflections in the shoals and the deeper pools.

At night, the light goes to ground and gives the world up to the insects and the stars. Bats flood the river bottom and tumble in swirling eddies over the water. Coyotes come out of hiding and range the coulees chasing rabbits and the moon, and everywhere the air is warm and sweet.

But beneath the bridge, trapped between the pale supports that rise out of the earth like dead trees and the tangle of rebar and wire that hangs from the girders like a web, the air is sharp, and the only thing that moves in the shadows is the wind.

S oldier and I relax on the side of the coulee and watch Lum lengthen his stride as he comes to high ground. His skin glistens with sweat, but he moves as if there is no more to the run than the effort of breathing. His arms stay close to his side. His body leans in slightly at the hips.

Come on!

Only his legs are in motion. They stretch out across the ground in long, gliding strokes and carry him over the last rise. Soldier barks and charges over the side of the coulee as Lum slows to a lope and circles back. I look at the stopwatch.

How was it? There are white lines down the sides of Lums face and across his back where the heat has dried the salt against his skin.

Twenty-six minutes, fourteen seconds.

All right. Lum stops moving and braces himself on his knees. His eye isnt black anymore. Its purple now, and yellow, and doesnt look as if it hurts too much. I can go faster, he says. But you dont want to go all out when youre in training.

Thats right.

Otherwise, when you get to the big race, youre wasted. Lum reaches into his pack and takes out his cigarettes and his gun.

Thought you were going to give up smoking.

Toughens your lungs so the dust doesnt bother you. Lum cracks the cylinder and slips a bullet into each chamber. You think that Cree guy is going to show his face?

Can I shoot it?

He was lucky. Lum closes the cylinder. Last year I was sick.

Ill be careful.

Lum tosses me the gun and lights a cigarette. All hes going to see of me this year is my ass.

Lum began carrying the gun a couple of summers ago. I figured he had borrowed it from his father, but Lum said he found it out at the landfill. The gun was dull silver with a black handle and a red dot on the front sight. It looked too good to throw away, but Lum said Id be amazed what shows up at the dump.

The gun was a lot of fun. Wed buy a box of shells at Tuckers Sporting Goods across from Safeway, go down to the river, throw cans in the water, and shoot at them as they floated along. When Lum first showed up with the gun, I was worried that he might try something dumb like Russian roulette. We had seen a really long movie about a bunch of men from a small town in the States who go to the Vietnam War and wind up sitting in a bar with a gun, drinking and sweating and looking tough and bored, taking bets on who is going to live and who is going to die.

One of the men would put a single bullet in a chamber and spin the cylinder, and then another guy would put the gun to his head and pull the trigger. When someone blew his brains out, the film slowed down so you could see the dumb expression on his face, as if the whole thing were a big surprise.

Lum pushes a stream of smoke out of his nostrils and lets it curl around his head. See if you can hit the bridge from here.

The gun is heavy and cold. I hold it the way the cops hold their guns on television, one hand on the butt, the other cradling the first hand to keep everything steady. I lower the gun slowly until the top of the red dot is in the middle of the rear sights, take a deep breath, and let half of it out.

The Indian Days long-distance champion. Lum holds his arms over his head. You know what Im going to do when I hit the finish line?

I squeeze the trigger slowly. The sound of the first round is no more than a sharp snap like something cold breaking. The sound of the second round is caught in the wind and blown away.

Im going to keep on going. When I hit the tape and everyone is cheering, Im going to keep on running. And Im not going to stop until I feel like stopping.

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