Bluebeard's Egg

  Once Ed would have laughed at this, but today he doesn't. Maybe she's said it, or something like it, a few times too often. He smiles though, wipes his hands on the dish towel, peers into the fridge. He likes to snack.

  "There's some cold roast beef," Sally says, baffled.

  Sally takes the sauce off the stove and sets it aside for later: she'll do the last steps just before serving. It's only two-thirty. Ed has disappeared into the cellar, where Sally knows he will be safe for a while. She goes into her study, which used to be one of the kids' bedrooms, and sits down at her desk. The room has never been completely redecorated: there's still a bed in it, and a dressing table with a blue flowered flounce Sally helped pick out, long before the kids went off to university: "flew the coop," as Ed puts it.

  Sally doesn't comment on the expression, though she would like to say that it wasn't the first coop they flew. Her house isn't even the real coop, since neither of the kids is hers. She'd hoped for a baby of her own when she married Ed, but she didn't want to force the issue. Ed didn't object to the idea, exactly, but he was neutral about it, and Sally got the feeling he'd had enough babies already. Anyway, the other two wives had babies, and look what happened to them. Since their actual fates have always been vague to Sally, she's free to imagine all kinds of things, from drug addiction to madness. Whatever it was resulted in Sally having to bring up their kids, at least from puberty onwards. The way it was presented by the first wife was that it was Ed's turn now. The second wife was more oblique: she said that the child wanted to spend some time with her father. Sally was left out of both these equations, as if the house wasn't a place she lived in, not really, so she couldn't be expected to have any opinion.

  Considering everything, she hasn't done badly. She likes the kids and tries to be a friend to them, since she can hardly pretend to be a mother. She describes the three of them as having an easy relationship. Ed wasn't around much for the kids, but it's him they want approval from, not Sally; it's him they respect. Sally is more like a confederate, helping them get what they want from Ed.

  When the kids were younger, Sally used to play Monopoly with them, up at the summer place in Muskoka Ed owned then but has since sold. Ed would play too, on his vacations and on the weekends when he could make it up. These games would all proceed along the same lines. Sally would have an initial run of luck and would buy up everything she had a chance at. She didn't care whether it was classy real estate, like Boardwalk or Park Place, or those dingy little houses on the other side of the tracks; she would even buy train stations, which the kids would pass over, preferring to save their cash reserves for better investments. Ed, on the other hand, would plod along, getting a little here, a little there. Then, when Sally was feeling flush, she would blow her money on next-to-useless luxuries such as the electric light company; and when the kids started to lose, as they invariably did, Sally would lend them money at cheap rates or trade them things of her own, at a loss. Why not? She could afford it.

  Ed meanwhile would be hedging his bets, building up blocks of property, sticking houses and hotels on them. He preferred the middle range, respectable streets but not flashy. Sally would land on his spaces and have to shell out hard cash. Ed never offered deals, and never accepted them. He played a lone game, and won more often than not. Then Sally would feel thwarted. She would say she guessed she lacked the killer instinct; or she would say that for herself she didn't care, because after all it was only a game, but he ought to allow the kids to win, once in a while. Ed couldn't grasp the concept of allowing other people to win. He said it would be condescending towards the children, and anyway you couldn't arrange to have a dice game turn out the way you wanted it to, since it was partly a matter of chance. If it was chance, Sally would think, why were the games so similar to one another? At the end, there would be Ed, counting up his paper cash, sorting it out into piles of bills of varying denominations, and Sally, her vast holdings dwindled to a few shoddy blocks on Baltic Avenue, doomed to foreclosure: extravagant, generous, bankrupt.

  On these nights, after the kids were asleep, Sally would have two or three more rye-and-gingers than were good for her. Ed would go to bed early - winning made him satisfied and drowsy - and Sally would ramble about the house or read the endings of murder mysteries she had already read once before, and finally she would slip into bed and wake Ed up and stroke him into arousal, seeking comfort.

  Sally has almost forgotten these games. Right now the kids are receding, fading like old ink; Ed on the contrary looms larger and larger, the outlines around him darkening. He's constantly developing, like a Polaroid print, new colours emerging, but the result remains the same: Ed is a surface, one she has trouble getting beneath.

  "Explore your inner world," said Sally's instructor in Forms of Narrative Fiction, a middle-aged woman of scant fame who goes in for astrology and the Tarot pack and writes short stories, which are not published in any of the magazines Sally reads. "Then there's your outer one," Sally said afterwards, to her friends. "For instance, she should really get something done about her hair." She made this trivial and mean remark because she's fed up with her inner world; she doesn't need to explore it. In her inner world is Ed, like a doll within a Russian wooden doll, and in Ed is Ed's inner world, which she can't get at.

  She takes a crack at it anyway: Ed's inner world is a forest, which looks something like the bottom part of their ravine lot, but without the fence. He wanders around in there, among the trees, not heading in any special direction. Every once in a while he comes upon a strange-looking plant, a sickly plant choked with weeds and briars. Ed kneels, clears a space around it, does some pruning, a little skilful snipping and cutting, props it up. The plant revives, flushes with health, sends out a grateful red blossom. Ed continues on his way. Or it may be a conked-out squirrel, which he restores with a drop from his flask of magic elixir. At set intervals an angel appears, bringing him food. It's always meatloaf. That's fine with Ed, who hardly notices what he eats, but the angel is getting tired of being an angel. Now Sally begins thinking about the angel: why are its wings frayed and dingy grey around the edges, why is it looking so withered and frantic? This is where all Sally's attempts to explore Ed's inner world end up.

  She knows she thinks about Ed too much. She knows she should stop. She knows she shouldn't ask, "Do you still love me?" in the plaintive tone that sets even her own teeth on edge. All it achieves is that Ed shakes his head, as if not understanding why she would ask this, and pats her hand. "Sally, Sally," he says, and everything proceeds as usual; except for the dread that seeps into things, the most ordinary things, such as rearranging the chairs and changing the burnt-out lightbulbs. But what is it she's afraid of? She has what they call everything: Ed, their wonderful house on a ravine lot, something she's always wanted. (But the hill is jungly, and the house is made of ice. It's held together only by Sally, who sits in the middle of it, working on a puzzle. The puzzle is Ed. If she should ever solve it, if she should ever fit the last cold splinter into place, the house will melt and flow away down the hill, and then....) It's a bad habit, fooling around with her head this way. It does no good. She knows that if she could quit she'd be happier. She ought to be able to: she's given up smoking.

  She needs to concentrate her attention on other things. This is the real reason for the night courses, which she picks almost at random, to coincide with the evenings Ed isn't in. He has meetings, he's on the boards of charities, he has trouble saying no. She runs the courses past herself, mediaeval history, cooking, anthropology, hoping her mind will snag on something; she's even taken a course in geology, which was fascinating, she told her friends, all that magma. That's just it: everything is fascinating, but nothing enters her. She's always a star pupil, she does well on the exams and impresses the teachers, for which she despises them. She is familiar with her brightness, her techniques; she's surprised other people are still taken in by them.

  Forms of Narrative Fiction started out the same way. Sally was ful
l of good ideas, brimming with helpful suggestions. The workshop part of it was anyway just like a committee meeting, and Sally knew how to run those, from behind, without seeming to run them: she'd done it lots of times at work. Bertha, the instructor, told Sally she had a vivid imagination and a lot of untapped creative energy. "No wonder she never gets anywhere, with a name like Bertha," Sally said, while having coffee afterwards with two of the other night-coursers. "It goes with her outfits, though." (Bertha sports the macrame look, with health-food sandals and bulky-knit sweaters and hand-weave skirts that don't do a thing for her square figure, and too many Mexican rings on her hands, which she doesn't wash often enough.) Bertha goes in for assignments, which she calls learning by doing. Sally likes assignments: she likes things that can be completed and then discarded, and for which she gets marks.

  The first thing Bertha assigned was The Epic. They read The Odyssey (selected passages, in translation, with a plot summary of the rest); then they poked around in James Joyce's Ulysses, to see how Joyce had adapted the epic form to the modern-day novel. Bertha had them keep a Toronto notebook, in which they had to pick out various spots around town as the ports of call in The Odyssey, and say why they had chosen them. The notebooks were read out loud in class, and it was a scream to see who had chosen what for Hades. (The Mount Pleasant Cemetery, McDonald's, where, if you eat the forbidden food, you never get back to the land of the living, the University Club with its dead ancestral souls, and so forth.) Sally's was the hospital, of course; she had no difficulty with the trench filled with blood, and she put the ghosts in wheelchairs.

  After that they did The Ballad, and read gruesome accounts of murders and betrayed love. Bertha played them tapes of wheezy old men singing traditionally, in the Doric mode, and assigned a newspaper scrapbook, in which you had to clip and paste up-to-the-minute equivalents. The Sun was the best newspaper for these. The fiction that turned out to go with this kind of plot was the kind Sally liked anyway, and she had no difficulty concocting a five-page murder mystery, complete with revenge.

  But now they are on Folk Tales and the Oral Tradition, and Sally is having trouble. This time, Bertha wouldn't let them read anything. Instead she read to them, in a voice, Sally said, that was like a gravel truck and was not conducive to reverie. Since it was the Oral Tradition, they weren't even allowed to take notes; Bertha said the original hearers of these stories couldn't read, so the stories were memorized. "To recreate the atmosphere," said Bertha, "I should turn out the lights. These stories were always told at night." "To make them creepier?" someone offered. "No," said Bertha. "In the days, they worked." She didn't do that, though she did make them sit in a circle.

  "You should have seen us," Sally said afterwards to Ed, "sitting in a circle, listening to fairy stories. It was just like kindergarten. Some of them even had their mouths open. I kept expecting her to say, 'If you need to go, put up your hand.' " She was meaning to be funny, to amuse Ed with this account of Bertha's eccentricity and the foolish appearance of the students, most of them middle-aged, sitting in a circle as if they had never grown up at all. She was also intending to belittle the course, just slightly. She always did this with her night courses, so Ed wouldn't get the idea there was anything in her life that was even remotely as important as he was. But Ed didn't seem to need this amusement or this belittlement. He took her information earnestly, gravely, as if Bertha's behaviour was, after all, only the procedure of a specialist. No one knew better than he did that the procedures of specialists often looked bizarre or incomprehensible to onlookers. "She probably has her reasons," was all he would say.

  The first stories Bertha read them, for warm-ups ("No memorizing for her," said Sally), were about princes who got amnesia and forgot about their true loves and married girls their mothers had picked out for them. Then they had to be rescued, with the aid of magic. The stories didn't say what happened to the women the princes had already married, though Sally wondered about it. Then Bertha read them another story, and this time they were supposed to remember the features that stood out for them and write a five-page transposition, set in the present and cast in the realistic mode. ("In other words," said Bertha, "no real magic") They couldn't use the Universal Narrator, however: they had done that in their Ballad assignment. This time they had to choose a point of view. It could be the point of view of anyone or anything in the story, but they were limited to one only. The story she was about to read, she said, was a variant of the Bluebeard motif, much earlier than Perrault's sentimental rewriting of it. In Perrault, said Bertha, the girl has to be rescued by her brothers; but in the earlier version things were quite otherwise.

  This is what Bertha read, as far as Sally can remember:

  There were once three young sisters. One day a beggar with a large basket on his back came to the door and asked for some bread. The eldest sister brought him some, but no sooner had she touched him than she was compelled to jump into his basket, for the beggar was really a wizard in disguise. ("So much for United Appeal," Sally murmured. "She should have said, 'I gave at the office.' "). The wizard carried her away to his house in the forest, which was large and richly furnished. "Here you will be happy with me, my darling," said the wizard, "for you will have everything your heart could desire."

  This lasted for a few days. Then the wizard gave the girl an egg and a bunch of keys. "I must go away on a journey," he said, "and I am leaving the house in your charge. Preserve this egg for me, and carry it about with you everywhere; for a great misfortune will follow from its loss. The keys open every room in the house. You may go into each of them and enjoy what you find there, but do not go into the small room at the top of the house, on pain of death." The girl promised, and the wizard disappeared.

  At first the girl contented herself with exploring the rooms, which contained many treasures. But finally her curiosity would not let her alone. She sought out the smallest key, and, with beating heart, opened the little door at the top of the house. Inside it was a large basin full of blood, within which were the bodies of many women, which had been cut to pieces: nearby were a chopping block and an axe. In her horror, she let go of the egg, which fell into the basin of blood. In vain did she try to wipe away the stain: every time she succeeded in removing it, back it would come.

  The wizard returned, and in a stern voice asked for the egg and the keys. When he saw the egg, he knew at once she had disobeyed him and gone into the forbidden room. "Since you have gone into the room against my will," he said, "you shall go back into it against your own." Despite her pleas he threw her down, dragged her by the hair into the little room, hacked her into pieces and threw her body into the basin with the others.

  Then he went for the second girl, who fared no better than her sister. But the third was clever and wily. As soon as the wizard had gone, she set the egg on a shelf, out of harm's way, and then went immediately and opened the forbidden door. Imagine her distress when she saw the cut-up bodies of her two beloved sisters; but she set the parts in order, and they joined together and her sisters stood up and moved, and were living and well. They embraced each other, and the third sister hid the other two in a cupboard.

  When the wizard returned he at once asked for the egg. This time it was spotless. "You have passed the test," he said to the third sister. "You shall be my bride." ("And second prize," said Sally, to herself this time, "is two weeks in Niagara Falls.") The wizard no longer had any power over her, and had to do whatever she asked. There was more, about how the wizard met his come-uppance and was burned to death, but Sally already knew which features stood out for her.

  At first she thought the most important thing in the story was the forbidden room. What would she put in the forbidden room, in her present-day realistic version? Certainly not chopped-up women. It wasn't that they were too unrealistic, but they were certainly too sick, as well as being too obvious. She wanted to do something more clever. She thought it might be a good idea to have the curious woman open the door and find nothing there a
t all, but after mulling it over she set this notion aside. It would leave her with the problem of why the wizard would have a forbidden room in which he kept nothing.

  That was the way she was thinking right after she got the assignment, which was a full two weeks ago. So far she's written nothing. The great temptation is to cast herself in the role of the cunning heroine, but again it's too predictable. And Ed certainly isn't the wizard; he's nowhere near sinister enough. If Ed were the wizard, the room would contain a forest, some ailing plants and feeble squirrels, and Ed himself, fixing them up; but then, if it were Ed the room wouldn't even be locked, and there would be no story.

  Now, as she sits at her desk, fiddling with her felt-tip pen, it comes to Sally that the intriguing thing about the story, the thing she should fasten on, is the egg. Why an egg? From the night course in Comparative Folklore she took four years ago, she remembers that the egg can be a fertility symbol, or a necessary object in African spells, or something the world hatched out of. Maybe in this story it's a symbol of virginity, and that is why the wizard requires it unbloodied. Women with dirty eggs get murdered, those with clean ones get married.

  But this isn't useful either. The concept is so outmoded. Sally doesn't see how she can transpose it into real life without making it ridiculous, unless she sets the story in, for instance, an immigrant Portuguese family, and what would she know about that?

  Sally opens the drawer of her desk and hunts around in it for her nail file. As she's doing this, she gets the brilliant idea of writing the story from the point of view of the egg. Other people will do the other things: the clever girl, the wizard, the two blundering sisters, who weren't smart enough to lie, and who will have problems afterwards, because of the thin red lines running all over their bodies, from where their parts joined together. But no one will think of the egg. How does it feel, to be the innocent and passive cause of so much misfortune?