The Handmaid's Tale by Margaret Atwood
To the right, if you could walk along, there's a street that would take you down towards the river. There's a boathouse, where they kept the sculls once, and some bridges; trees, green banks, where you could sit and watch the water, and the young men with their naked arms, their oars lifting into the sunlight as they played at winning. On the way to the river are the old dormitories, used for something else now, with their fairytale turrets, painted white and gold and blue. When we think of the past it's the beautiful things we pick out. We want to believe it was all like that.
The football stadium is down there too, where they hold the Men's Salvagings. As well as the football games. They still have those.
I don't go to the river any more, or over bridges. Or on the subway, although there's a station right there. We're not allowed on, there are Guardians now, there's no official reason for us to go down those steps, ride on the trains under the river, into the main city. Why would we want to go from here to there? We would be up to no good and they would know it.
The church is a small one, one of the first erected here, hundreds of years ago. It isn't used any more, except as a museum. Inside it you can see paintings, of women in long sombre dresses, their hair covered by white caps, and of upright men, darkly clothed and unsmiling. Our ancestors. Admission is free.
We don't go in, though, but stand on the path, looking at the churchyard. The old gravestones are still there, weathered, eroding, with their skulls and crossed bones, memento mori, their dough-faced angels, their winged hourglasses to remind us of the passing of mortal time, and, from a later century, their urns and willow trees, for mourning.
They haven't fiddled with the gravestones, or the church either. It's only the more recent history that offends them.
Ofglen's head is bowed, as if she's praying. She does this every time. Maybe, I think, there's someone, someone in particular gone, for her too; a man, a child. But I can't entirely believe it. I think of her as a woman for whom every act is done for show, is acting rather than a real act. She does such things to look good, I think. She's out to make the best of it.
But that is what I must look like to her, as well. How can it be otherwise?
Now we turn our backs on the church and there is the thing we've in truth come to see: the Wall.
The Wall is hundreds of years old too; or over a hundred, at least. Like the sidewalks, it's red brick, and must once have been plain but handsome. Now the gates have sentries and there are ugly new floodlights mounted on metal posts above it, and barbed wire along the bottom and broken glass set in concrete along the top.
No one goes through those gates willingly. The precautions are for those trying to get out, though to make it even as far as the Wall, from the inside, past the electronic alarm system, would be next to impossible.
Beside the main gateway there are six more bodies hanging, by the necks, their hands tied in front of them, their heads in white bags tipped sideways onto their shoulders. There must have been a Men's Salvaging early this morning. I didn't hear the bells. Perhaps I've become used to them.
We stop, together as if on signal, and stand and look at the bodies. It doesn't matter if we look. We're supposed to look: this is what they are there for, hanging on the Wall. Sometimes they'll be there for days, until there's a new batch, so as many people as possible will have the chance to see them.
What they are hanging from is hooks. The hooks have been set into the brickwork of the Wall, for this purpose. Not all of them are occupied. The hooks look like appliances for the armless. Or steel question marks, upside-down and sideways.
It's the bags over the heads that are the worst, worse than the faces themselves would be. It makes the men look like dolls on which faces have not yet been painted; like scarecrows, which in a way is what they are, since they are meant to scare. Or as if their heads are sacks, stuffed with some undifferentiated material, like flour or dough. It's the obvious heaviness of the heads, their vacancy, the way gravity pulls them down and there's no life any more to hold them up. The heads are zeros.
Though if you look and look, as we are doing, you can see the outlines of the features under the white cloth, like grey shadows. The heads are the heads of snowmen, with the coal eyes and the carrot noses fallen out. The heads are melting.
But on one bag there's blood, which has seeped through the white cloth, where the mouth must have been. It makes another mouth, a small red one, like the mouths painted with thick brushes by kindergarten children. A child's idea of a smile. This smile of blood is what fixes the attention, finally. These are not snowmen after all.
The men wear white coats, like those worn by doctors or scientists. Doctors and scientists aren't the only ones, there are others, but they must have had a run on them this morning. Each has a placard hung around his neck to show why he has been executed: a drawing of a human foetus. They were doctors, then, in the time before, when such things were legal. Angel makers, they used to call them: or was that something else? They've been turned up now by the searches through hospital records, or - more likely, since most hospitals destroyed such records once it became clear what was going to happen - by informants: ex-nurses perhaps, or a pair of them, since evidence from a single woman is no longer admissible; or another doctor, hoping to save his own skin; or someone already accused, lashing out at an enemy, or at random, in some desperate bid for safety. Though informants are not always pardoned.
These men, we've been told, are like war criminals. It's no excuse that what they did was legal at the time: their crimes are retroactive. They have committed atrocities, and must be made into examples, for the rest. Though this is hardly needed. No woman in her right mind, these days, would seek to prevent a birth, should she be so lucky as to conceive.
What we are supposed to feel towards these bodies is hatred and scorn. This isn't what I feel. These bodies banging on the Wall are time travellers, anachronisms. They've come here from the past.
What I feel towards them is blankness. What I feel is that I must not feel. What I feel is partly relief, because none of these men is Luke. Luke wasn't a doctor. Isn't.
I look at the one red smile. The red of the smile is the same as the red of the tulips in Serena Joy's garden, towards the base of the flowers where they are beginning to heal. The red is the same but there is no connection. The tulips are not tulips of blood, the red smiles are not flowers, neither thing makes a comment on the other. The tulip is not a reason for disbelief in the hanged man, or vice versa. Each thing is valid and really there. It is through a field of such valid objects that I must pick my way, every day and in every way. I put a lot of effort into making such distinctions. I need to make them. I need to be very clear, in my own mind.
I feel a tremor in the woman beside me. Is she crying? In what way could it make her look good? I can't afford to know. My own hands are clenched, I note, tight around the handle of my basket. I won't give anything away.
Ordinary, said Aunt Lydia, is what you are used to. This may not seem ordinary to you now, but after a time it will. It will become ordinary.
III
NIGHT
CHAPTER SEVEN
The night is mine, my own time, to do with as I will, as long as I am quiet. As long as I don't move. As long as I lie still. The difference between lie and lay. Lay is always passive. Even men used to say, I'd like to get laid. Though sometimes they said, I'd like to lay her. All this is pure speculation. I don't really know what men used to say. I had only their words for it.
I lie, then, inside the room, under the plaster eye in the ceiling, behind the white curtains, between the sheets, neatly as they, and step sideways out of my own time. Out of time. Though this is time, nor am I out of it.
But the night is my time out. Where should I go?
Somewhere good.
Moira, sitting on the edge of my bed, legs crossed, ankle on knee, in her purple overalls, one dangly earring, the gold fingernail she wore to be eccentric, a cigarette between her stubby yellow-end
You're getting ashes in my bed, I said.
If you'd make it you wouldn't have this problem, said Moira.
In half an hour, I said. I had a paper due the next day. What was it? Psychology, English, Economics. We studied things like that, then. On the floor of the room there were books, open face down, this way and that, extravagantly.
Now, said Moira. You don't need to paint your face, it's only me. What's your paper on? I just did one on date rape.
Date rape, I said. You're so trendy. It sounds like some kind of dessert. Date Rape.
Ha ha, said Moira. Get your coat.
She got it herself and tossed it at me. I'm borrowing five bucks off you, okay?
Or in a park somewhere, with my mother. How old was I? It was cold, our breaths came out in front of us, there were no leaves on the trees; grey sky, two ducks in the pond, disconsolate. Breadcrumbs under my fingers, in my pocket. That's it: she said we were going to feed the ducks.
But there were some women burning books, that's what she was really there for. To see her friends; she'd lied to me, Saturdays were supposed to be my day. I turned away from her, sulking, towards the ducks, but the fire drew me back.
There were some men, too, among the women, and the books were magazines. They must have poured gasoline, because the flames shot high, and then they began dumping the magazines, from boxes, not too many at a time. Some of them were chanting; onlookers gathered.
Their faces were happy, ecstatic almost. Fire can do that. Even my mother's face, usually pale, thinnish, looked ruddy and cheerful, like a Christmas card; and there was another woman, large, with a soot smear down her cheek and an orange knitted cap, I remember her.
You want to throw one on, honey? she said. How old was I?
Good riddance to bad rubbish, she said, chuckling. It okay? she said to my mother.
If she wants to, my mother said; she had a way of talking about me to others as if I couldn't hear.
The woman handed me one of the magazines. It had a pretty woman on it, with no clothes on, hanging from the ceiling by a chain wound around her hands. I looked at it with interest. It didn't frighten me. I thought she was swinging, like Tarzan from a vine, on the TV.
Don't let her see it, said my mother. Here, she said to me, toss it in, quick.
I threw the magazine into the flames. It riffled open in the wind of its burning; big flakes of paper came loose, sailed into the air, still on fire, parts of women's bodies, turning to black ash, in the air, before my eyes.
But then what happens, but then what happens?
I know I lost time.
There must have been needles, pills, something like that. I couldn't have lost that much time without help. You have had a shock, they said.
I would come up through a roaring and confusion, like surf boiling. I can remember feeling quite calm. I can remember screaming, it felt like screaming though it may have been only a whisper, Where is she? What have you done with her?
There was no night or day; only a flickering. After a while there were chairs again, and a bed, and after that a window.
She's in good hands, they said. With people who are fit. You are unfit, but you want the best for her. Don't you?
They showed me a picture of her, standing outside on a lawn, her face a closed oval. Her light hair was pulled back tight behind her head. Holding her hand was a woman I didn't know. She was only as tall as the woman's elbow.
You've killed her, I said. She looked like an angel, solemn, compact, made of air.
She was wearing a dress I'd never seen, white and down to the ground.
I would like to believe this is a story I'm telling. I need to believe it. I must believe it. Those who can believe that such stories are only stories have a better chance.
If it's a story I'm telling, then I have control over the ending. Then there will be an ending, to the story, and real life will come after it. I can pick up where I left off.
It isn't a story I'm telling.
It's also a story I'm telling, in my head, as I go along.
Tell, rather than write, because I have nothing to write with and writing is in any case forbidden. But if it's a story, even in my head, I must be telling it to someone. You don't tell a story only to yourself. There's always someone else.
Even when there is no one.
A story is like a letter. Dear You, I'll say. Just you, without a name. Attaching a name attaches you to the world of fact, which is riskier, more hazardous: who knows what the chances are out there, of survival, yours? I will say you, you, like an old love song. You can mean more than one.
You can mean thousands.
I'm not in any immediate danger, I'll say to you.
I'll pretend you can hear me.
But it's no good, because I know you can't.
IV
WAITING ROOM
CHAPTER EIGHT
The good weather holds. It's almost like June, when we would get out our sundresses and our sandals and go for an ice-cream cone. There are three new bodies on the Wall. One is a priest, still wearing the black cassock. That's been put on him, for the trial, even though they gave up wearing those years ago, when the sect wars first began; cassocks made them too conspicuous. The two others have purple placards hung around their necks: Gender Treachery. Their bodies still wear the Guardian uniforms. Caught together, they must have been, but where? A barracks, a shower? It's hard to say. The snowman with the red smile is gone.
"We should go back," I say to Ofglen. I'm always the one to say this. Sometimes I feel that if I didn't say it, she would stay here forever. But is she mourning or gloating? I still can't tell.
Without a word she swivels, as if she's voice-activated, as if she's on little oiled wheels, as if she's on top of a music box. I resent this grace of hers. I resent her meek head, bowed as if into a heavy wind. But there is no wind.
We leave the Wall, walk back the way we came, in the warm sun.
"It's a beautiful May day," Ofglen says. I feel rather than see her head turn towards me, waiting for a reply.
"Yes," I say. "Praise be," I add as an afterthought. Mayday used to be a distress signal, a long time ago, in one of those wars we studied in high school. I kept getting them mixed up, but you could tell them apart by the airplanes if you paid attention. It was Luke who told me about Mayday though. Mayday, Mayday, for pilots whose planes had been hit, and ships - was it ships too? - at sea. Maybe it was SOS for ships. I wish I could look it up. And it was something from Beethoven, for the beginning of the victory, in one of those wars.
Do you know what it came from? said Luke. Mayday?
No, I said. It's a strange word to use for that, isn't it?
Newspapers and coffee, on Sunday mornings, before she was born. There were still newspapers, then. We used to read them in bed.
It's French, he said. From M'aidez.
Help me.
Coming towards us there's a small procession, a funeral: three women, each with a black transparent veil thrown over her headdress. An Econowife and two others, the mourners also Econowives, her friends perhaps. Their striped dresses are worn-looking, as are their faces. Some day, when times improve, says Aunt Lydia, no one will have to be an Econowife.
The first one is the bereaved, the mother; she carries a small black jar. From the size of the jar you can tell how old it was when it foundered, inside her, flowed to its death. Two or three months, too young to tell whether or not it was an Unbaby. The older ones and those that die at birth have boxes.
We pause, out of respect, while they go by. I wonder if Ofglen feels what I do, a pain like a stab, in the belly. We put our hands over our hearts to show these stranger women that we feel with them in their loss. Beneath her veil the first one scowls at us. One of the others turns aside, spits on the sidewalk. The Econowives do not like us.
We go past the shops and come to the barrier again, and are passed through. We continue on among the large empty-lookin
"Under His Eye," she says. The right farewell.
"Under His Eye," I reply, and she gives a little nod. She hesitates, as if to say something more, but then she turns away and walks down the street. I watch her. She's like my own reflection, in a mirror from which I am moving away.
In the driveway, Nick is polishing the Whirlwind again. He's reached the chrome at the back. I put my gloved hand on the latch of the gate, open it, push inward. The gate clicks behind me. The tulips along the border are redder than ever, opening, no longer winecups but chalices; thrusting themselves up, to what end? They are, after all, empty. When they are old they turn themselves inside out, then explode slowly, the petals thrown out like shards.
Nick looks up and begins to whistle. Then he says, "Nice walk?"
I nod, but do not answer with my voice. He isn't supposed to speak to me. Of course some of them will try, said Aunt Lydia. All flesh is weak. All flesh is grass, I corrected her in my head. They can't help it, she said, God made them that way but He did not make you that way. He made you different. It's up to you to set the boundaries. Later you will be thanked.
In the garden behind the house the Commander's Wife is sitting, in the chair she's had brought out. Serena Joy, what a stupid name. It's like something you'd put on your hair, in the other time, the time before, to straighten it. Serena Joy, it would say on the bottle, with a woman's head in cut-paper silhouette on a pink oval background with scalloped gold edges. With everything to choose from in the way of names, why did she pick that one? Serena Joy was never her real name, not even then. Her real name was Pam. I read that in a profile on her, in a news magazine, long after I'd first watched her singing while my mother slept in on Sunday mornings. By that time she was worthy of a profile: Time or Newsweek it was, it must have been. She wasn't singing any more by then, she was making speeches. She was good at it. Her speeches were about the sanctity of the home, about how women should stay home. Serena Joy didn't do this herself, she made speeches instead, but she presented this failure of hers as a sacrifice she was making for the good of all.