The Handmaid's Tale

nd Luke bullied the superintendent into opening up the apartment. She could be dead, on the floor, Luke said. The longer you leave it the worse it'll be. You thought of the smell? The superintendent said something about needing a permit, but Luke could be persuasive. He made it clear we weren't going to wait or go away. I started to cry. Maybe that was what finally did it.

When the man got the door open what we found was chaos. There was furniture overturned, the mattress was ripped open, bureau drawers upside-down on the floor, their contents strewn and mounded. But my mother wasn't there.

I'm going to call the police, I said. I'd stopped crying; I felt cold from head to foot, my teeth were chattering.

Don't, said Luke.

Why not? I said. I was glaring at him, I was angry now. He stood there in the wreck of the living room, just looking at me. He put his hands into his pockets, one of those aimless gestures people make when they don't know what else to do.

Just don't, is what he said.


Your mother's neat, Moira would say, when we were at college.

Later: she's got pizzazz. Later still: she's cute.

She's not cute, I would say. She's my mother.

Jeez, said Moira, you ought to see mine.

I think of my mother, sweeping up deadly toxins; the way they used to use up old women, in Russia, sweeping dirt. Only this dirt will kill her. I can't quite believe it. Surely her cockiness, her optimism and energy, her pizzazz, will get her out of this. She will think of something.

But I know this isn't true. It is just passing the buck, as children do, to mothers.

I've mourned for her already. But I will do it again, and again.


I bring myself back, to the here, to the hotel. This is where I need to be. Now, in this ample mirror under the white light, I take a look at myself.

It's a good look, slow and level. I'm a wreck. The mascara has smudged again, despite Moira's repairs, the purplish lipstick has bled, hair trails aimlessly. The moulting pink feathers are tawdry as carnival dolls and some of the starry sequins have come off. Probably they were off to begin with and I didn't notice. I am a travesty, in bad makeup and someone else's clothes, used glitz.

I wish I had a toothbrush.

I could stand here and think about it, but time is passing.

I must be back at the house before midnight; otherwise I'll turn into a pumpkin, or was that the coach? Tomorrow's the Ceremony, according to the calendar, so tonight Serena wants me serviced, and if I'm not there she'll find out why, and then what?

And the Commander, for a change, is waiting; I can hear him pacing in the main room. Now he pauses outside the bathroom door, clears his throat, a stagy ahem. I turn on the hot water tap, to signify readiness or something approaching it. I should get this over with. I wash my hands. I must beware of inertia.

When I come out he's lying down on the king-sized bed, with, I note, his shoes off. I lie down beside him, I don't have to be told. I would rather not; but it's good to lie down, I am so tired.

Alone at last, I think. The fact is that I don't want to be alone with him, not on a bed. I'd rather have Serena there too. I'd rather play Scrabble.

But my silence does not deter him. "Tomorrow, isn't it?" he says softly. "I thought we could jump the gun." He turns towards me.

"Why did you bring me here?" I say coldly.

He's stroking my body now, from stem as they say to stern, cat-stroke along the left flank, down the left leg. He stops at the foot, his fingers encircling the ankle, briefly, like a bracelet, where the tattoo is, a Braille he can read, a cattle-brand. It means ownership.

I remind myself that he is not an unkind man; that, under other circumstances, I even like him.

His hand pauses. "I thought you might enjoy it for a change." He knows that isn't enough. "I guess it was a sort of experiment." That isn't enough either. "You said you wanted to know."

He sits up, begins to unbutton. Will this be worse, to have him denuded, of all his cloth power? He's down to the shirt; then, under it, sadly, a little belly. Wisps of hair.

He pulls down one of my straps, slides his other hand in among the feathers, but it's no good, I lie there like a dead bird. He is not a monster, I think. I can't afford pride or aversion, there are all kinds of things that have to be discarded, under the circumstances.

"Maybe I should turn the lights out," says the Commander, dismayed and no doubt disappointed. I see him for a moment before he does this. Without his uniform he looks smaller, older, like something being dried. The trouble is that I can't be, with him, any different from the way I usually am with him. Usually I'm inert. Surely there must be something here for us, other than this futility and bathos.

Fake it, I scream at myself inside my head. You must remember how. Let's get this over with or you'll be here all night. Bestir yourself. Move your flesh around, breathe audibly. It's the least you can do.





XIII

NIGHT





CHAPTER FORTY


The heat at night is worse than the heat in daytime. Even with the fan on, nothing moves, and the walls store up warmth, give it out like a used oven. Surely it will rain soon. Why do I want it? It will only mean more dampness. There's lightning far away but no thunder. Looking out the window I can see it, a glimmer, like the phosphorescence you get in stirred seawater, behind the sky, which is overcast and too low and a dull grey infra-red. The searchlights are off, which is not usual. A power failure. Or else Serena Joy has arranged it.

I sit in the darkness; no point in having the light on, to advertise the fact that I'm still awake. I'm fully dressed in my red habit again, having shed the spangles, scraped off the lipstick with toilet paper. I hope nothing shows, I hope I don't smell of it, or of him either.

She's here at midnight, as she said she'd be. I can hear her, a faint tapping, a faint shuffling on the muffling rug of the corridor, before her light knock comes. I don't say anything, but follow her back along the hall and down the stairs. She can walk faster, she's stronger than I thought. Her left hand clamps the banister, in pain maybe but holding on, steadying her. I think: she's biting her lip, she's suffering. She wants it all right, that baby. I see the two of us, a blue shape, a red shape, in the brief glass eye of the mirror as we descend. Myself, my obverse.

We go out through the kitchen. It's empty, a dim nightlight's left on; it has the calm of empty kitchens at night. The bowls on the counter, the canisters and stoneware jars loom round and heavy through the shadowy light. The knives are put away into their wooden rack.

"I won't go outside with you," she whispers. Odd, to hear her whispering, as if she is one of us. Usually Wives do not lower their voices. "You go out through the door and turn right. There's another door, it's open. Go up the stairs and knock, he's expecting you. No one will see you. I'll sit here." She'll wait for me then, in case there's trouble; in case Cora and Rita wake up, no one knows why, come in from their room at the back of the kitchen. What will she say to them? That she couldn't sleep. That she wanted some hot milk. She'll be adroit enough to lie well, I can see that.

"The Commander's in his bedroom upstairs," she says. "He won't come down this late, he never does." That's what she thinks.

I open the kitchen door, step out, wait a moment for vision. It's so long since I've been outside, alone, at night. Now there's thunder, the storm's moving closer. What has she done about the Guardians? I could be shot for a prowler. Paid them off somehow, I hope: cigarettes, whiskey, or maybe they know all about it, her stud farm, maybe if this doesn't work she'll try them next.

The door to the garage is only steps away. I cross, feet noiseless on the grass, and open it quickly, slip inside. The stairway is dark, darker than I can see. I feel my way up, stair by stair: carpet here, I think of it as mushroom-coloured. This must have been an apartment once, for a student, a young single person with a job. A lot of the big houses around here had them. A bachelor, a studio, those were the names for that kind of apartment. It pleases me to be able to remember this. Separate entrance, it would say in the ads, and that meant you could have sex, unobserved.


I reach the top of the stairs, knock on the door there. He opens it himself, who else was I expecting? There's a lamp on, only one but enough light to make me blink. I look past him, not wanting to meet his eyes. It's a single room, with a fold-out bed, made up, and a kitchenette counter at the far end, and another door that must lead to the bathroom. This room is stripped down, military, minimal. No pictures on the walls, no plants. He's camping out. The blanket on the bed is grey and says U.S.

He steps back and aside to let me past. He's in his shirt sleeves, and is holding a cigarette, lit. I smell the smoke on him, in the warm air of the room, all over. I'd like to take off my clothes, bathe in it, rub it over my skin.

No preliminaries; he knows why I'm here. He doesn't even say anything, why fool around, it's an assignment. He moves away from me, turns off the lamp. Outside, like punctuation, there's a flash of lightning; almost no pause and then the thunder. He's undoing my dress, a man made of darkness, I can't see his face, and I can hardly breathe, hardly stand, and I'm not standing. His mouth is on me, his hands, I can't wait and he's moving, already, love, it's been so long, I'm alive in my skin, again, arms around him, falling and water softly everywhere, never-ending. I knew it might only be once.


I made that up. It didn't happen that way. Here is what happened.

I reach the top of the stairs, knock on the door. He opens it himself. There's a lamp on; I blink. I look past his eyes, it's a single room, the bed's made up, stripped down, military. No pictures but the blanket says U.S. He's in his shirt sleeves, he's holding a cigarette.

"Here," he says to me, "have a drag." No preliminaries, he knows why I'm here. To get knocked up, to get in trouble, up the pole, those were all names for it once. I take the cigarette from him, draw deeply in, hand it back. Our fingers hardly touch. Even that much smoke makes me dizzy.

He says nothing, just looks at me, unsmiling. It would be better, more friendly, if he would touch me. I feel stupid and ugly, although I know I am not either. Still, what does he think, why doesn't he say something? Maybe he thinks I've been slutting around, at Jezebel's, with the Commander or more. It annoys me that I'm even worrying about what he thinks. Let's be practical.

"I don't have much time," I say. This is awkward and clumsy, it isn't what I mean.

"I could just squirt it into a bottle and you could pour it in," he says. He doesn't smile.

"There's no need to be brutal," I say. Possibly he feels used. Possibly he wants something from me, some emotion, some ackowledgement that he too is human, is more than just a seedpod. "I know it's hard for you," I try.

He shrugs. "I get paid," he says, punk surliness. But still makes no move.

I get paid, you get laid, I rhyme in my head. So that's how we're going to do it. He didn't like the makeup, the spangles. We're going to be tough.

"You come here often?"

"And what's a nice girl like me doing in a spot like this," I reply. We both smile: this is better. This is an acknowledgement that we are acting, for what else can we do in such a setup?

"Abstinence makes the heart grow fonder." We're quoting from late movies, from the time before. And the movies then were from a time before that: this sort of talk dates back to an era well before our own. Not even my mother talked like that, not when I knew her. Possibly nobody ever talked like that in real life, it was all a fabrication from the beginning. Still, it's amazing how easily it comes back to mind, this corny and falsely gay sexual banter. I can see now what it's for, what it was always for: to keep the core of yourself out of reach, enclosed, protected.

I'm sad now, the way we're talking is infinitely sad: faded music, faded paper flowers, worn satin, an echo of an echo. All gone away, no longer possible. Without warning I begin to cry.

At last he moves forward, puts his arms around me, strokes my back, holds me that way, for comfort.

"Come on," he says. "We haven't got much time." With his arm around my shoulders he leads me over to the fold-out bed, lies me down. He even turns down the blanket first. He begins to unbutton, then to stroke, kisses beside my ear. "No romance," he says. "Okay?"

That would have meant something else, once. Once it would have meant: no strings. Now it means: no heroics. It means: don't risk yourself for me, if it should come to that.

And so it goes. And so.

I knew it might only be once. Goodbye, I thought, even at the time, goodbye.

There wasn't any thunder though, I added that in. To cover up the sounds, which I am ashamed of making.


It didn't happen that way either. I'm not sure how it happened; not exactly. All I can hope for is a reconstruction: the way love feels is always only approximate.

Partway through, I thought about Serena Joy, sitting down there in the kitchen. Thinking: cheap. They'll spread their legs for anyone. All you need to give them is a cigarette.

And I thought afterwards: this is a betrayal. Not the thing itself but my own response. If I knew for certain he was dead, would that make a difference?

I would like to be without shame. I would like to be shameless. I would like to be ignorant. Then I would not know how ignorant I was.





XIV

SALVAGING





CHAPTER FORTY-ONE


I wish this story were different. I wish it were more civilized. I wish it showed me in a better light, if not happier, then at least more active, less hesitant, less distracted by trivia. I wish it had more shape. I wish it were about love, or about sudden realizations important to one's life, or even about sunsets, birds, rainstorms, or snow.

Maybe it is about those things, in a sense; but in the meantime there is so much else getting in the way, so much whispering, so much speculation about others, so much gossip that cannot be verified, so many unsaid words, so much creeping about and secrecy. And there is so much time to be endured, time heavy as fried food or thick fog; and then all at once these red events, like explosions, on streets otherwise decorous and matronly and somnambulant.

I'm sorry there is so much pain in this story. I'm sorry it's in fragments, like a body caught in crossfire or pulled apart by force. But there is nothing I can do to change it.

I've tried to put some of the good things in as well. Flowers, for instance, because where would we be without them?

Nevertheless it hurts me to tell it over, over again. Once was enough: wasn't once enough for me at the time? But I keep on going with this sad and hungry and sordid, this limping and mutilated story, because after all I want you to hear it, as I will hear yours too if I ever get the chance, if I meet you or if you escape, in the future or in Heaven or in prison or underground, some other place. What they have in common is that they're not here. By telling you anything at all I'm at least believing in you, I believe you're there, I believe you into being. Because I'm telling you this story I will your existence. I tell, therefore you are.

So I will go on. So I will myself to go on. I am coming to a part you will not like at all, because in it I did not behave well, but I will try nonetheless to leave nothing out. After all you've been through, you deserve whatever I have left, which is not much but includes the truth.


This is the story, then.

I went back to Nick. Time after time, on my own, without Serena knowing. It wasn't called for, there was no excuse. I did not do it for him, but for myself entirely. I didn't even think of it as giving myself to him, because what did I have to give? I did not feel munificent, but thankful, each time he would let me in. He didn't have to.

In order to do this I became reckless, I took stupid chances. After being with the Commander I would go upstairs in the usual way, but then I would go along the hall and down the Marthas' stairs at the back and through the kitchen. Each time I would hear the kitchen door click shut behind me and I would almost turn back, it sounded so metallic, like a mousetrap or a weapon, but I would not turn back. I would hurry across the few feet of illuminated lawn, the searchlights were back on again, expecting at any moment to feel the bullets rip through me even in advance of their sound. I would make my way by touch up the dark staircase and come to rest against the door, the thud of blood in my ears. Fear is a powerful stimulant. Then I would knock softly, a beggar's knock. Each time I would expect him to be gone; or worse, I would expect him to say I could not come in. He might say he wasn't going to break any more rules, put his neck in the noose, for my sake. Or even worse, tell me he was no longer interested. His failure to do any of these things I experienced as the most incredible benevolence and luck.

I told you it was bad.


Here is how it goes.

He opens the door. He's in his shirt sleeves, his shirt untucked, hanging loose; he's holding a toothbrush, or a cigarette or a glass with something in it. He has his own little stash up here, black-market stuff I suppose. He's always got something in his hand, as if he's been going about his life as usual, not expecting me, not waiting. Maybe he doesn't expect me, or wait. Maybe he has no notion of the future, or does not bother or dare to imagine it.

"Is it too late?" I say.

He shakes his head for no. It is understood between us by now that it is never too late, but I go through the ritual politeness of asking. It makes me feel more in control, as if there is a choice, a decision that could be made one way or the other. He steps aside and I move past him and he closes the door. Then he crosses the room and closes the window. After that he turns out the light. There is not much talking between us any more, not at this stage. Already I am half out of my clothes. We save the talking for later.

With the Commander I close my eyes, even when I am only kissing him goodnight. I do not want to see him up close. But now, here, each time, I keep my eyes open. I would like a light on somewhere, a candle perhaps, stuck into a bottle, some echo of college, but anything like that would be too great a risk; so I have to make do with the searchlight, the glow of it from the grounds below, filtered through his white curtains which are the same as mine. I want to see what can be seen, of him, take him in, memorize