Джонатан Франзен – The Discomfort Zone: A Personal History (страница 10)

Tom was gone for five days before we heard from him. His call came on a Sunday after church. We were sitting on the screen porch, and my mother ran the length of the house to answer the phone. She sounded so ecstatic with relief I felt embarrassed for her. Tom had hitchhiked back to Houston and was doing deep-fry at a Church’s fried-chicken establishment, hoping to save enough money to join his best friend in Colorado. My mother kept asking him when he might come home, assuring him that he was welcome and that he wouldn’t have to work at Sverdrup; but I could tell, without even hearing Tom’s responses, that he wanted nothing to do with us now.

The purpose of a comic strip, Schulz liked to say, was to sell newspapers and to make people laugh. His formulation may look self-deprecating at first glance, but in fact it is an oath of loyalty. When I. B. Singer, in his Nobel address, declared that the novelist’s first responsibility is to be a storyteller, he didn’t say “mere storyteller,” and Schulz didn’t say “merely make people laugh.” He was loyal to the reader who wanted something funny from the funny pages. Just about anything—protesting against world hunger; getting a laugh out of words like “nooky”; dispensing wisdom; dying—is easier than real comedy.

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