Margaret Atwood

This is how I got here, says Rennie.

It was the day after Jake left. I walked back to the house around five. I'd been over at the market and I was carrying the shopping basket as well as my purse. There wasn't as much to carry now that Jake wasn't there any more, which was just as well because the muscles in my left shoulder were aching, I hadn't been keeping up the exercises. The trees along the street had turned and the leaves were falling onto the sidewalk, yellow and brown, and I was thinking, Well, it's not so bad, I'm still alive.

My next-door neighbour, an old Chinese man whose name I didn't know, was tidying up his front yard. The yard in front of my house had been covered over with paving stones so you could park a car on it. That meant the street was going up rather than down, and in a few years I'd have to move; though I'd stopped thinking in years. My neighbour had pulled up the dead plants and was raking the earth into a raised oblong. In the spring he'd plant things I didn't know the names for. I remember thinking it was time I learned the names, if I was going to live there.

I did notice the cruiser, which they'd left beside a meter like any other car, no flashing lights, but it was a few doors away so I didn't pay much attention to it. You see more police cars down there than you might farther north.

The front door was open, which wasn't out of place on such a warm day. The downstairs neighbour, an old woman who isn't the landlady but behaves like one, has cats and likes to leave the outside door ajar so they can get in and go through the cat door. "Cat hole," Jake calls it; used to call it.

My own door at the top of the stairs was open too. There were people inside, men, I could hear them talking, and then a laugh. I couldn't think who it could be, it wasn't Jake, but whoever it was didn't seem to care who knew they were there. The key was under the mat where I always leave it, but the edge of the doorframe was splintered, the lock was shoved right out of it. I went into the livingroom, which was still piled with the boxes of books Jake had packed but not collected. Nothing had been moved. Through the kitchen doorway I could see feet and legs, shining feet, pressed legs.

Two policemen were sitting at the table. I had that quick rush of fear, late for school, caught on the boys' stairs, caught out. The only thing I could think of was that they were after the pot, but there were no drawers pulled open and the tea and coffee canisters were where they should be. Then I remembered that Jake had taken the whole stash with him. Why not? It was his. Anyway, surely they'd stopped worrying about that, everyone does it now, even the police, it's almost legal.

The younger one stood up, the older one didn't. He stayed sitting down, smiling up at me as if I'd come for a job interview.

You Miss Wilford? he asked. He didn't wait. You're damn lucky. He had a massive head, with the hair clipped short like a punker's. His was left over though, from sometime in the fifties: no green highlights.

Why? I said. What's the matter?

You've got good neighbours, the younger one said. He looked like a high-school gym teacher or a Baptist, about twenty-two, earnest and severe. The one downstairs. She was the one who phoned.

Was it a fire? I said. There was no sign of it, no smell.

The older one laughed. The other one didn't. No, he said. She heard footsteps up here and she knew it wasn't you, she saw you go out, and she didn't hear anyone go up the stairs. He jimmied open your kitchen window.

I put the shopping basket on the table; then I went and looked at the window, which was open about two feet. The white paint was scratched.

You could do it with a jackknife, he said. You should get those safety locks. He heard us coming and went back out through the window.

Did he take anything? I said.

You'll have to tell us that, said the older one.

The young one looked uneasy. We don't think he was a burglar, he said. He made himself a cup of Ovaltine. He was just waiting for you, I guess. There was a cup on the table, half full of something light brown. I felt sick: someone I didn't know had been in my kitchen, opening my refrigerator and my cupboards, humming to himself maybe, as if he lived there; as if he was an intimate.

What for? I said.

The older one stood up. He took up a lot of space in the kitchen. Take a look, he said, pleased with himself, in charge. He had a present he'd been saving up. He walked past me into the livingroom and then into the bedroom. I was glad I'd made the bed that morning: lately I hadn't always.

There was a length of rope coiled neatly on the quilt. It wasn't any special kind of rope, there was nothing lurid about it. It was off-white and medium thick. It could have been a clothesline.

All I could think of was a game we used to play, Detective or Clue, something like that. You had to guess three things: Mr. Green, in the conservatory, with a pipewrench; Miss Plum, in the kitchen, with a knife. Only I couldn't remember whether the name in the envelope was supposed to be the murderer's or the victim's. Miss Wilford, in the bedroom, with a rope.

He was just waiting for you, the younger one said behind me.

Drinking his Ovaltine, the big one said. He smiled down at me, watching my face, almost delighted, like an adult who's just said I told you so to some rash child with a skinned knee.

So you were lucky, the younger one said. He came past me and picked up the rope, carefully, as if it had germs. I could see now that he was older than I'd thought, he had anxious puckers around the eyes.

The big one opened the closet door, casually, as if he had every right. Two of Jake's suits were still hanging there.

You live alone, that right? the big one said.

I said yes.

These your pictures? said the big one, grinning.

No, I said. They belong to a friend of mine. The pictures were Jake's, he was supposed to take them away.

Quite a friend, said the big one.

He must've been watching you for a while, said the young one. He must've known when you'd get home. Any idea who it might be?

No, I said. I wanted to sit down. I thought of asking them if they wanted a beer.

Some nut, the big one said. If you knew what was walking around loose out there you'd never go out. You close the curtains in the bathroom when you take a shower?

There aren't any curtains in the bathroom, I said. There aren't any windows.

You close the curtains when you get dressed at night?

Yes, I said.

He'll be back, the young one said. That kind always comes back.

The big one wouldn't let up. You have men over here a lot? Different men?

He wanted it to be my fault, just a little, some indiscretion, some provocation. Next he would start lecturing me about locks, about living alone, about safety.

I close the curtains, I said. I don't have men over. I turn out the lights. I get undressed by myself, in the dark.

The big one smirked at me, he knew about single women, and suddenly I was angry. I unbuttoned my blouse and pulled my left arm out of the sleeve and dropped the slip strap over my shoulder.

What in hell are you doing? the big one said.

I want you to believe me, I said.

There's a two-hour stopover in Barbados, or so they tell her. Rennie finds the women's washroom in the new Muzak-slick airport and changes from her heavy clothes to a cotton dress. She examines her face in the mirror, checking for signs. In fact she looks quite well, she looks normal. Her dress is a washed-out blue, her face isn't too pale, she wears only enough makeup so she won't seem peculiar, a leftover hippie or a Plymouth Brethren or something like that. This is the effect she aims for, neutrality; she needs it for her work, as she used to tell Jake. Invisibility.

Take a chance, said Jake, during one of his campaigns to alter her, what was it that time? Purple satin with rhinestone spaghetti straps. Make a statement.

Other people make statements, she said. I just write them down.

That's a cop-out, said Jake. If you've got it, flaunt it.

Which God knows you do, said Rennie.

You're putting me down again, said Jake, affable, showing his teeth, flawless except for the long canines.

You're impossible to put down, said Rennie. That's why I love you.

In the washroom there's a blow-dryer for your hands, which claims to be a protection against disease. The instructions are in French as well as English, it's made in Canada. Rennie washes her hands and dries them under the blow-dryer. She's all in favour of protection against disease.

She thinks about what's behind her, what she cancelled or didn't bother to cancel. As for the apartment, she just shut the door with its shiny new lock and walked out, since out was where she needed to be. It gets easier and easier, dishes in the sink for two weeks, three weeks, only a little mould on them, she hardly even feels guilty any more; one of these days it may be permanent.

Rennie's lucky that she can manage these sidesteps, these small absences from real life; most people can't. She's not tied down, which is an advantage. It's a good thing she's versatile, and it helps to know people, in this case Keith. Keith has recently come across to Visor from Toronto Life. He's a contact of hers, which is not the same as a friend. While she was in the hospital she decided that most of her friends were really just contacts.

I want to go somewhere warm and very far away, she said.

Try the Courtyard Cafe, he said.

No, seriously, said Rennie. My life is the pits right now. I need a tan.

Want to do The Restless Caribbean? he said. So does everyone else.

Nothing political, she said. I can do you a good Fun in the Sun, with the wine lists and the tennis courts, I know what you like.

You finked out on the last piece I wanted you to do, said Keith. Anyway, you just came back from Mexico.

That was last year, she said. Come on, we're old buddies. I need some time out.

Keith sighed and then agreed, a little too quickly. Usually he haggled more. He must have heard about the operation; maybe he even knew about Jake leaving. He had that faint sick look in his eyes, as if he wanted to give her something, charity for instance. Rennie hates charity.

It's not a total freebie, she said. It's not as if I don't produce.

Pick an island, he said. Only it has to be someplace we haven't done. How about this one? A friend of mine went there, sort of by mistake. He says it's off the beaten track.

Rennie had never heard of it. Sounds great, she said. Ordinarily she would have done some homework, but she was in too much of a hurry. This time she's flying blind.

Rennie repacks her bag, stuffing her pantyhose into an outside pocket, the one with the clock. Then she goes to the restaurant, where everything is wicker, and orders a gin and tonic. She does not look long at the distant sea, which is too blue to be believable.

The restaurant isn't full. There are a few women alone and more in clutches, and a couple of families. There are no men by themselves. Men by themselves usually go to the bar. She knows, she's learned since Jake left, that if she spends much time gazing around the room with that slightly defiant stare adopted by women alone to indicate that they don't have to be, one of the other solitaries might join her. So instead she watches her hands and the ice cubes in her glass, which despite the air conditioning are melting almost at once.

When she goes to the gate she's told the plane is late. Lugging her bag and her camera bag, she walks among the kiosk shops: small black hand-sewn dolls, cigarette boxes and mirrors encrusted with shells, necklaces made from the teeth of sharks, porcupine fish, inflated and dried. A miniature five-piece steel band, mounted on a slab of driftwood, in which the players are toads. Looking more closely, she sees that the toads are real ones that have been stuffed and varnished. A long time ago she would have bought this monstrosity and sent it to someone for a joke.

Rennie is from Griswold, Ontario. Griswold is what they call her background. Though it's less like a background, a backdrop--picturesque red Victorian houses and autumn trees on a hillside in the distance--than a subground, something that can't be seen but is nevertheless there, full of gritty old rocks and buried stumps, worms and bones; nothing you'd want to go into. Those who'd lately been clamouring for roots had never seen a root up close, Rennie used to say. She had, and she'd rather be some other part of the plant.

In an earlier phase, Rennie used to tell jokes about Griswold to amuse her friends. Such as: How many people from Griswold does it take to change a lightbulb? The whole town. One to change it, ten to snoop, and the rest of them to discuss how sinful you are for wanting more light. Or: How many people from Griswold does it take to change a lightbulb? None. If the light goes out it's the will of God, and who are you to complain?

People from bigger places, Jake in particular, think that Griswold has an exotic and primitive charm. Rennie doesn't think this. Mostly she tries to avoid thinking about Griswold at all. Griswold, she hopes, is merely something she defines herself against.

Though it's not always so easy to get rid of Griswold. For instance: When Rennie saw the piece of rope on her bed, she knew what Griswold would have had to say about it. This is what happens to women like you. What can you expect, you deserve it. In Griswold everyone gets what they deserve. In Griswold everyone deserves the worst.

1.  
Time is not a line but a dimension, like the dimensions of space. If you can bend space you can bend time also, and if you knew enough and could move faster than light you could travel backwards in time and exist in two places at once.
 
It was my brother Stephen who told me that, when he wore his ravelling maroon sweater to study in and spent a lot of time standing on his head so that the blood would run down into his brain and nourish it. I didn’t understand what he meant, but maybe he didn’t explain it very well. He was already moving away from the imprecision of words.
 
But I began then to think of time as having a shape, something you could see, like a series of liquid transparencies, one laid on top of another. You don’t look back along time but down through it, like water. Sometimes this comes to the surface, sometimes that, sometimes nothing. Nothing goes away.
 
2.
“Stephen says time is not a line,” I say. Cordelia rolls her eyes, as I knew she would.
 
“So?” she says. This answer pleases both of us. It puts the nature of time in its place, and also Stephen, who calls us “the teenagers,” as if he himself is not one.
 
Cordelia and I are riding on the streetcar, going downtown, as we do on winter Saturdays. The streetcar is muggy with twice-breathed air and the smell of wool. Cordelia sits with nonchalance, nudging me with her elbow now and then, staring blankly at the other people with her grey-green eyes, opaque and glinting as metal. She can outstare anyone, and I am almost as good. We’re impervious, we scintillate, we are thirteen.
 
We wear long wool coats with tie belts, the collars turned up to look like those of movie stars, and rubber boots with the tops folded down and men’s work socks inside. In our pockets are stuffed the kerchiefs our mothers make us wear but that we take off as soon as we’re out of their sight. We scorn head-coverings. Our mouths are tough, crayon-red, shiny as nails. We think we are friends.
 
On the streetcars there are always old ladies, or we think of them as old. They’re of various kinds. Some are respectably dressed, in tailored Harris tweed coats and matching gloves and tidy no-nonsense hats with small brisk feathers jauntily at one side. Others are poorer and foreign-looking and have dark shawls wound over their heads and around their shoulders. Others are bulgy, dumpy, with clamped self-righteous mouths, their arms festooned with shopping bags; these we associate with sales, with bargain basements. Cordelia can tell cheap cloth at a glance. “Gabardine,” she says. “Ticky-tack.”
 
Then there are the ones who have not resigned themselves, who still try for an effect of glamour. There aren’t many of these, but they stand out. They wear scarlet outfits or purple ones, and dangly earrings, and hats that look like stage props. Their slips show at the bottoms of their skirts, slips of unusual, suggestive colours.
 
Anything other than white is suggestive. They have hair dyed strawblonde or baby-blue, or, even more startling against their papery skins, a lustreless old-fur-coat black. Their lipstick mouths are too big around their mouths, their rouge blotchy, their eyes drawn screw-jiggy around their real eyes. These are the ones most likely to talk to themselves. There’s one who says “mutton, mutton,” over and over again like a song, another who pokes at our legs with her umbrella and says “bare naked.”
 
This is the kind we like best. They have a certain gaiety to them, a power of invention, they don’t care what people think. They have escaped, though what it is they’ve escaped from isn’t clear to us. We think that their bizarre costumes, their verbal tics, are chosen, and that when the time comes we also will be free to choose.
 
“That’s what I’m going to be like,” says Cordelia. “Only I’m going to have a yappy Pekinese, and chase kids off my lawn. I’m going to have a shepherd’s crook.”
 
“I’m going to have a pet iguana,” I say, “and wear nothing but cerise.” It’s a word I have recently learned.
 
Now I think, what if they just couldn’t see what they looked like? Maybe it was as simple as that: eye problems. I’m having that trouble myself now: too close to the mirror and I’m a blur, too far back and I can’t see the details. Who knows what faces I’m making, what kind of modern art I’m drawing onto myself? Even when I’ve got the distance adjusted, I vary. I am transitional; some days I look like a worn-out thirty-five, others like a sprightly fifty. So much depends on the light, and the way you squint.
 
I eat in pink restaurants, which are better for the skin. Yellow ones turn you yellow. I actually spend time thinking about this. Vanity is becoming a nuisance; I can see why women give it up, eventually. But I’m not ready for that yet.
 
Lately I’ve caught myself humming out loud, or walking along the street with my mouth slightly open, drooling a little. Only a little; but it may be the thin edge of the wedge, the crack in the wall that will open, later, onto what? What vistas of shining eccentricity, or madness?
 
There is no one I would ever tell this to, except Cordelia. But which Cordelia? The one I have conjured up, the one with the rolltop boots and the turned-up collar, or the one before, or the one after? There is never only one, of anyone.
 
If I were to meet Cordelia again, what would I tell her about myself? The truth, or whatever would make me look good?
 
Probably the latter. I still have that need.
 
I haven’t seen her for a long time. I wasn’t expecting to see her. But now that I’m back here I can hardly walk down a street without a glimpse of her, turning a corner, entering a door. It goes without saying that these fragments of her – a shoulder, beige, camel’s-hair, the side of a face, the back of a leg – belong to women who, seen whole, are not Cordelia.
 
I have no idea what she would look like now. Is she fat, have her breasts sagged, does she have little grey hairs at the corners of her mouth? Unlikely: she would pull them out. Does she wear glasses with fashionable frames, has she had her lids lifted, does she streak or tint? All of these things are possible: we’ve both reached that borderline age, that buffer zone in which it can still be believed such tricks will work if you avoid bright sunlight.
 
I think of Cordelia examining the growing pouches under her eyes, the skin, up close, loosened and crinkled like elbows. She sighs, pats in cream, which is the right kind. Cordelia would know the right kind. She takes stock of her hands, which are shrinking a little, warping a little, as mine are. Gnarling has set in, the withering of the mouth; the outlines of dewlaps are beginning to be visible, down towards the chin, in the dark glass of subway windows. Nobody else notices these things yet, unless they look closely; but Cordelia and I are in the habit of looking closely.
 
She drops the bath towel, which is green, a muted sea-green to match her eyes, looks over her shoulder, sees in the mirror the dog’s-neck folds of skin above the waist, the buttocks drooping like wattles, and, turning, the dried fern of hair. I think of her in a sweatsuit, sea-green as well, working out in some gym or other, sweating like a pig. I know what she would say about this, about all of this. How we giggled, with repugnance and delight, when we found the wax her older sisters used on their legs, congealed in a little pot, stuck full of bristles. The grotesqueries of the body were always of interest to her.
 
I think of encountering her without warning. Perhaps in a worn coat and a knitted hat like a tea cosy, sitting on a curb, with two plastic bags filled with her only possessions, muttering to herself. Cordelia! Don’t you recognize me? I say. And she does, but pretends not to. She gets up and shambles away on swollen feet, old socks poking through the holes in her rubber boots, glancing back over her shoulder.
 
There’s some satisfaction in that, more in worse things. I watch from a window, or a balcony so I can see better, as some man chases Cordelia along the sidewalk below me, catches up with her, punches her in the ribs – I can’t handle the face – throws her down. But I can’t go any farther.
 
Better to switch to an oxygen tent. Cordelia is unconscious. I have been summoned, too late, to her hospital bedside. There are flowers, sickly-smelling, wilting in a vase, tubes going into her arms and nose, the sound of terminal breathing. I hold her hand. Her face is puffy, white, like an unbaked biscuit, with yellowish circles under the closed eyes. Her eyelids don’t flicker but there’s a faint twitching of her fingers, or do I imagine it? I sit there wondering whether to pull the tubes out of her arms, the plug out of the wall. No brain activity, the doctors say. Am I crying? And who would have summoned me?
 
Even better: an iron lung. I’ve never seen an iron lung, but the newspapers had pictures of children in iron lungs, back when people still got polio. These pictures – the iron lung a cylinder, a gigantic sausage roll of metal, with a head sticking out one end of it, always a girl’s head, the hair flowing across the pillow, the eyes large, nocturnal – fascinated me, more than stories about children who went out on thin ice and fell through and were drowned, or children who played on the railroad tracks and had their arms and legs cut off by trains. You could get polio without knowing how or where, end up in an iron lung without knowing why. Something you breathed in or ate, or picked up from the dirty money other people had touched. You never knew.

1.  
Time is not a line but a dimension, like the dimensions of space. If you can bend space you can bend time also, and if you knew enough and could move faster than light you could travel backwards in time and exist in two places at once.
 
It was my brother Stephen who told me that, when he wore his ravelling maroon sweater to study in and spent a lot of time standing on his head so that the blood would run down into his brain and nourish it. I didn’t understand what he meant, but maybe he didn’t explain it very well. He was already moving away from the imprecision of words.
 
But I began then to think of time as having a shape, something you could see, like a series of liquid transparencies, one laid on top of another. You don’t look back along time but down through it, like water. Sometimes this comes to the surface, sometimes that, sometimes nothing. Nothing goes away.
 
2.
“Stephen says time is not a line,” I say. Cordelia rolls her eyes, as I knew she would.
 
“So?” she says. This answer pleases both of us. It puts the nature of time in its place, and also Stephen, who calls us “the teenagers,” as if he himself is not one.
 
Cordelia and I are riding on the streetcar, going downtown, as we do on winter Saturdays. The streetcar is muggy with twice-breathed air and the smell of wool. Cordelia sits with nonchalance, nudging me with her elbow now and then, staring blankly at the other people with her grey-green eyes, opaque and glinting as metal. She can outstare anyone, and I am almost as good. We’re impervious, we scintillate, we are thirteen.
 
We wear long wool coats with tie belts, the collars turned up to look like those of movie stars, and rubber boots with the tops folded down and men’s work socks inside. In our pockets are stuffed the kerchiefs our mothers make us wear but that we take off as soon as we’re out of their sight. We scorn head-coverings. Our mouths are tough, crayon-red, shiny as nails. We think we are friends.
 
On the streetcars there are always old ladies, or we think of them as old. They’re of various kinds. Some are respectably dressed, in tailored Harris tweed coats and matching gloves and tidy no-nonsense hats with small brisk feathers jauntily at one side. Others are poorer and foreign-looking and have dark shawls wound over their heads and around their shoulders. Others are bulgy, dumpy, with clamped self-righteous mouths, their arms festooned with shopping bags; these we associate with sales, with bargain basements. Cordelia can tell cheap cloth at a glance. “Gabardine,” she says. “Ticky-tack.”
 
Then there are the ones who have not resigned themselves, who still try for an effect of glamour. There aren’t many of these, but they stand out. They wear scarlet outfits or purple ones, and dangly earrings, and hats that look like stage props. Their slips show at the bottoms of their skirts, slips of unusual, suggestive colours.
 
Anything other than white is suggestive. They have hair dyed strawblonde or baby-blue, or, even more startling against their papery skins, a lustreless old-fur-coat black. Their lipstick mouths are too big around their mouths, their rouge blotchy, their eyes drawn screw-jiggy around their real eyes. These are the ones most likely to talk to themselves. There’s one who says “mutton, mutton,” over and over again like a song, another who pokes at our legs with her umbrella and says “bare naked.”
 
This is the kind we like best. They have a certain gaiety to them, a power of invention, they don’t care what people think. They have escaped, though what it is they’ve escaped from isn’t clear to us. We think that their bizarre costumes, their verbal tics, are chosen, and that when the time comes we also will be free to choose.
 
“That’s what I’m going to be like,” says Cordelia. “Only I’m going to have a yappy Pekinese, and chase kids off my lawn. I’m going to have a shepherd’s crook.”
 
“I’m going to have a pet iguana,” I say, “and wear nothing but cerise.” It’s a word I have recently learned.
 
Now I think, what if they just couldn’t see what they looked like? Maybe it was as simple as that: eye problems. I’m having that trouble myself now: too close to the mirror and I’m a blur, too far back and I can’t see the details. Who knows what faces I’m making, what kind of modern art I’m drawing onto myself? Even when I’ve got the distance adjusted, I vary. I am transitional; some days I look like a worn-out thirty-five, others like a sprightly fifty. So much depends on the light, and the way you squint.
 
I eat in pink restaurants, which are better for the skin. Yellow ones turn you yellow. I actually spend time thinking about this. Vanity is becoming a nuisance; I can see why women give it up, eventually. But I’m not ready for that yet.
 
Lately I’ve caught myself humming out loud, or walking along the street with my mouth slightly open, drooling a little. Only a little; but it may be the thin edge of the wedge, the crack in the wall that will open, later, onto what? What vistas of shining eccentricity, or madness?
 
There is no one I would ever tell this to, except Cordelia. But which Cordelia? The one I have conjured up, the one with the rolltop boots and the turned-up collar, or the one before, or the one after? There is never only one, of anyone.
 
If I were to meet Cordelia again, what would I tell her about myself? The truth, or whatever would make me look good?
 
Probably the latter. I still have that need.
 
I haven’t seen her for a long time. I wasn’t expecting to see her. But now that I’m back here I can hardly walk down a street without a glimpse of her, turning a corner, entering a door. It goes without saying that these fragments of her – a shoulder, beige, camel’s-hair, the side of a face, the back of a leg – belong to women who, seen whole, are not Cordelia.
 
I have no idea what she would look like now. Is she fat, have her breasts sagged, does she have little grey hairs at the corners of her mouth? Unlikely: she would pull them out. Does she wear glasses with fashionable frames, has she had her lids lifted, does she streak or tint? All of these things are possible: we’ve both reached that borderline age, that buffer zone in which it can still be believed such tricks will work if you avoid bright sunlight.
 
I think of Cordelia examining the growing pouches under her eyes, the skin, up close, loosened and crinkled like elbows. She sighs, pats in cream, which is the right kind. Cordelia would know the right kind. She takes stock of her hands, which are shrinking a little, warping a little, as mine are. Gnarling has set in, the withering of the mouth; the outlines of dewlaps are beginning to be visible, down towards the chin, in the dark glass of subway windows. Nobody else notices these things yet, unless they look closely; but Cordelia and I are in the habit of looking closely.
 
She drops the bath towel, which is green, a muted sea-green to match her eyes, looks over her shoulder, sees in the mirror the dog’s-neck folds of skin above the waist, the buttocks drooping like wattles, and, turning, the dried fern of hair. I think of her in a sweatsuit, sea-green as well, working out in some gym or other, sweating like a pig. I know what she would say about this, about all of this. How we giggled, with repugnance and delight, when we found the wax her older sisters used on their legs, congealed in a little pot, stuck full of bristles. The grotesqueries of the body were always of interest to her.
 
I think of encountering her without warning. Perhaps in a worn coat and a knitted hat like a tea cosy, sitting on a curb, with two plastic bags filled with her only possessions, muttering to herself. Cordelia! Don’t you recognize me? I say. And she does, but pretends not to. She gets up and shambles away on swollen feet, old socks poking through the holes in her rubber boots, glancing back over her shoulder.
 
There’s some satisfaction in that, more in worse things. I watch from a window, or a balcony so I can see better, as some man chases Cordelia along the sidewalk below me, catches up with her, punches her in the ribs – I can’t handle the face – throws her down. But I can’t go any farther.
 
Better to switch to an oxygen tent. Cordelia is unconscious. I have been summoned, too late, to her hospital bedside. There are flowers, sickly-smelling, wilting in a vase, tubes going into her arms and nose, the sound of terminal breathing. I hold her hand. Her face is puffy, white, like an unbaked biscuit, with yellowish circles under the closed eyes. Her eyelids don’t flicker but there’s a faint twitching of her fingers, or do I imagine it? I sit there wondering whether to pull the tubes out of her arms, the plug out of the wall. No brain activity, the doctors say. Am I crying? And who would have summoned me?
 
Even better: an iron lung. I’ve never seen an iron lung, but the newspapers had pictures of children in iron lungs, back when people still got polio. These pictures – the iron lung a cylinder, a gigantic sausage roll of metal, with a head sticking out one end of it, always a girl’s head, the hair flowing across the pillow, the eyes large, nocturnal – fascinated me, more than stories about children who went out on thin ice and fell through and were drowned, or children who played on the railroad tracks and had their arms and legs cut off by trains. You could get polio without knowing how or where, end up in an iron lung without knowing why. Something you breathed in or ate, or picked up from the dirty money other people had touched. You never knew.

1. SEASHORE
Monday, January 7, 2013.

Felix brushes his teeth. Then he brushes his other teeth, the false ones, and slides them into his mouth. Despite the layer of pink adhesive he’s applied, they don’t fit very well; perhaps his mouth is shrinking. He smiles: the illusion of a smile. Pretense, fakery, but who’s to know?

Once he would have called his dentist and made an appointment, and the luxurious faux-leather chair would have been his, the concerned face smelling of mint mouthwash, the skilled hands wielding gleaming instruments. Ah yes, I see the problem. No worries, we’ll get that fixed for you. Like taking his car in for a tuneup. He might even have been graced with music on the earphones and a semiknockout pill.

But he can’t afford such professional adjustments now. His dental care is low-rent, so he’s at the mercy of his unreliable teeth. Too bad, because that’s all he needs for his upcoming finale: a denture meltdown. Our revelth now have ended. Theeth our actorth . . . Should that happen, his humiliation would be total; at the thought of it even his lungs blush. If the words are not perfect, the pitch exact, the modulation delicately adjusted, the spell fails. People start o shift in their seats, and cough, and go home at intermission. It’s like death.

“Mi-my-mo-moo,” he tells the toothpaste-speckled mirror over the kitchen sink. He lowers his eyebrows, juts out his chin. Then he grins: the grin of a cornered chimpanzee, part anger, part threat, part dejection.

How he has fallen. How deflated. How reduced. Cobbling together this bare existence, living in a hovel, ignored in a forgotten backwater; whereas Tony, that selfpromoting, posturing little shit, gallivants about with the grandees, and swills champagne, and gobbles caviar and larks’ tongues and suckling pigs, and attends galas, and basks in the adoration of his entourage, his flunkies, his toadies . . .

Once the toadies of Felix.

It rankles. It festers. It brews vengefulness. If only . . .

Enough. Shoulders straight, he orders his gray reflection. Suck it up. He knows without looking that he’s developing a paunch. Maybe he should get a truss.

Never mind! Reef in the stomach! There’s work to be done, there are plots to be plotted, there are scams to be scammed, there are villains to be misled! Tip of the tongue, top of the teeth. Testing the tempestuous teapot. She sells seashells by the seashore.

There. Not a syllable fluffed. He can still do it. He’ll pull it off, despite all obstacles. Charm the pants off them at first, not that he’d relish the resulting sight. Wow them with wonder, as he says to his actors. Let’s make magic! And let’s shove it down the throat of that devious, twisted bastard, Tony.

I’m a fifty-three-year-old writer who can remember being a ten-year-old writer and who expects someday to be an eighty-year-old writer.
OCTAVIA BUTLER

In Other Worlds is not a catalogue of science fiction, a grand theory about it, or a literary history of it. It is not a treatise, it is not definitive, it is not exhaustive, it is not canonical. It is not the work of a practising academic or an official guardian of a body of knowledge. Rather it is an exploration of my own lifelong relationship with a literary form, or forms, or subforms, both as reader and as writer.
 
I say “lifelong,” for among the first things I wrote as a child might well merit the initials SF. Like a great many children before and since, I was an inventor of other worlds. Mine were rudimentary, as such worlds are when you’re six or seven or eight, but they were emphatically not of this here- and- now Earth, which seems to be one of the salient features of SF. I wasn’t much interested in Dick and Jane: the creepily ultra- normal characters did not convince me. Saturn was more my speed, and other realms even more outlandish. Several- headed man- eating marine life seemed more likely to me, somehow, than Spot and Puff.
 
 
Our earliest loves, like revenants, have a way of coming back in other forms; or, to paraphrase Wordsworth, the child is mother to the woman. To date— as what I am pleased to think of as an adult— I have written three full- length fictions that nobody would ever class as sociological realism: The Handmaid’s Tale, Oryx and Crake, and The Year of the Flood. Are these books “science fiction”? I am often asked. Though sometimes I am not asked, but told: I am a silly nit or a snob or a genre traitor for dodging the term because these books are as much “science fiction” as Nineteen Eighty- Four is, whatever I might say. But is Nineteen Eighty- Four as much “science fiction” as The Martian Chronicles? I might reply. I would answer not, and therein lies the distinction.
 
Much depends on your nomenclatural allegiances, or else on your system of literary taxonomy. Back in 2008, I was talking to a much younger person about “science fiction.” I’d been asked by the magazine New Scientist to answer the question “Is science fiction going out of date?” But then I realized that I couldn’t make a stab at the answer because I didn’t really grasp what the term science fiction meant anymore. Is this term a corral with real fences that separate what is clearly “science fiction” from what is not, or is it merely a shelving aid, there to help workers in bookstores place the book in a semi- accurate or at least lucrative way? If you put skin- tight black or silver clothing on a book cover along with some jetlike flames and/or colourful planets, does that make the work “science fiction”? What about dragons and manticores, or backgrounds that contain volcanoes or atomic clouds, or plants with tentacles, or landscapes reminiscent of Hieronymus Bosch? Does there have to be any actual science in such a book, or is the skin- tight clothing enough? These seemed to me to be open questions.
 
This much younger person— let’s call him Randy, which was in fact his name— did not have a hard and fast definition of “science fiction,” but he knew it when he saw it, kind of. As I told New Scientist, “For Randy— and I think he’s representative— sci- fi does include other planets, which may or may not have dragons on them. It includes the wildly paranormal— not your aunt table- tilting or things going creak, but shape- shifters and people with red eyeballs and no pupils, and Things taking over your body.” Here I myself would include such items as Body Snatchers— if of extraterrestrial rather than folkloric provenance— and Pod People, and heads growing out of your armpits, though I’d exclude common and garden- variety devils, and demonic possession, and also vampires and werewolves, which have literary ancestries and categories all their own.
 
As I reported in my New Scientist article, for Randy sci- fi includes, as a matter of course, spaceships, and Mad Scientists, and Experiments Gone Awfully Wrong. Plain ordinary horror doesn’t count— chainsaw murderers and such. Randy and I agreed that you might meet one of those walking along the street. It’s what you definitely would not meet walking along the street that makes the grade. Randy judged such books in part by the space- scapes and leathery or silvery outfits on their covers, which means that my speculations about jacket images are not entirely irrelevant. As one friend’s child put it: “Looks like milk, tastes like milk— it IS milk!” Thus: looks like science fiction, has the tastes of science fiction— it IS science fiction!
 
Or more or less. Or kind of. For covers can be misleading. The earliest mass- market paperbacks of my first two novels, The Edible Woman and Surfacing, had pink covers with gold scrollwork designs on them and oval frames with a man’s head and a woman’s head silhouetted inside, just like valentines. How many readers picked these books up, hoping to find a Harlequin Romance or reasonable facsimile, only to throw them down in tears because there are no weddings at the ends?
 
Then there was the case of the former Soviet Union. No sooner did the Wall come down in 1989 than pornography flooded across the one- time divide. Porn had hitherto been excluded in favour of endless editions of the classics and other supposed- to- be- good- for- you works, but forbidden fruit excites desire, and everyone had already read Tolstoy, a lot. Suddenly the publishers of serious literature were hard- pressed. Thus it was that The Robber Bride appeared in a number of Soviet- bloc countries with covers that might be described as— at best— deceptive and— at worst— as a Eurotrash slutfest in flagrante. How many men in raincoats purchased the Robber Bride edition sporting a black- satin- sheathed Zenia with colossal tits, hoping for a warm one- handed time in a back corner, only to heave it into the bin with a strangled Foiled Again! curse? For the Zenia in my book performs what we can only assume is her sexual witchery offstage.
 
Having thus misled readers twice— inadvertently— by dint of book covers and the genre categories implied by them, I would rather not do it again. I would like to have space creatures inside the books on offer at my word- wares booth, and I would if I could: they were, after all, my first childhood love. But, being unable to produce them, I don’t want to lead the reader on, thus generating a frantic search within the pages— Where are the Lizard Men of Xenor?— that can only end in disappointment.
 
My desire to explore my relationship with the SF world, or worlds, has a proximate cause. In 2009, I published The Year of the Flood, the second work of fiction in a series exploring another kind of “other world”— our own planet in a future. (I carefully say a future rather than the future because the future is an unknown: from the moment now, an infinite number of roads lead away to “the future,” each heading in a different direction.)
 

I planned my death carefully; unlike my life, which meandered along from one thing to another, despite my feeble attempts to control it. My life had a tendency to spread, to get flabby, to scroll and festoon like the frame of a baroque mirror, which came from following the line of least resistance. I wanted my death, by contrast, to be neat and simple, understated, even a little severe, like a Quaker church or the basic black dress with a single strand of pearls much praised by fashion magazines when I was fifteen. No trumpets, no megaphones, no spangles, no loose ends, this time. The trick was to disappear without a trace, leaving behind me the shadow of a corpse, a shadow everyone would mistake for solid reality. At first I thought I’d managed it.
 
The day after I arrived in Terremoto I was sitting outside on the balcony. I’d been intending to sunbathe, I had visions of myself as a Mediterranean splendor, golden-brown, striding with laughing teeth into an aqua sea, carefree at last, the past discarded; but then I remembered I had no suntan lotion (Maximum Protection: without it I’d burn and freckle), so I’d covered my shoulders and thighs with several of the landlord’s skimpy bath towels. I hadn’t brought a bathing suit; bra and underpants would do, I thought, since the balcony was invisible from the road.
 
I’d always been fond of balconies. I felt that if I could only manage to stand on one long enough, the right one, wearing a long white trailing gown, preferably during the first quarter of the moon, something would happen: music would sound, a shape would appear below, sinuous and dark, and climb towards me, while I leaned fearfully, hopefully, gracefully, against the wrought-iron railing and quivered. But this wasn’t a very romantic balcony. It had a geometric railing like those on middle-income apartment buildings of the fifties, and the floor was poured concrete, already beginning to erode. It wasn’t the kind of balcony a man would stand under playing a lute and yearning or clamber up bearing a rose in his teeth or a stiletto in his sleeve. Besides, it was only five feet off the ground. Any mysterious visitor I might have would be more likely to approach by the rough path leading down to the house from the street above, feet crunching on the cinders, roses or knives in his head only.
 
That at any rate would be Arthur’s style, I thought; he’d rather crunch than climb. If only we could go back to the way it had once been, before he had changed. . . . I pictured him coming to retrieve me, winding up the hill in a rented Fiat which would have something wrong with it; he would tell me about this defect later, after we’d thrown ourselves into each other’s arms. He would park, as close to the wall as possible. Before getting out he would check his face in the rearview mirror, adjusting the expression: he never liked to make a fool of himself, and he wouldn’t be sure whether or not he was about to. He would unfold himself from the car, lock it so his scanty luggage could not be stolen, place the keys in an inside jacket pocket, peer left and right, and then with that curious ducking motion of the head, as if he were dodging a thrown stone or a low doorway, he’d sneak past the rusty gate and start cautiously down the path. He was usually stopped at international borders. It was because he looked so furtive; furtive but correct, like a spy.
 
At the sight of lanky Arthur descending towards me, uncertain, stony-faced, rescue-minded, in his uncomfortable shoes and wellaged cotton underwear, not knowing whether I would really be there or not, I began to cry. I closed my eyes: there in front of me, across an immense stretch of blue which I recognized as the Atlantic Ocean, was everyone I had left on the other side. On a beach, of course; I’d seen a lot of Fellini movies. The wind rippled their hair, they smiled and waved and called to me, though of course I couldn’t hear the words. Arthur was the nearest; behind him was the Royal Porcupine, otherwise known as Chuck Brewer, in his long pretentious cape; then Sam and Marlene and the others. Leda Sprott fluttered like a bedsheet off to one side, and I could see Fraser Buchanan’s leather-patched elbow sticking out from where he lurked behind a seaside bush. Further back, my mother, wearing a navy-blue suit and a white hat, my father indistinct by her side; and my Aunt Lou. Aunt Lou was the only one who wasn’t looking at me. She was marching along the beach, taking deep breaths and admiring the waves and stopping every now and then to empty the sand out of her shoes. Finally she took them off, and continued, in fox fur, feathered hat and stocking feet, towards a distant hot-dog and orangeade stand that beckoned to her from the horizon like a tacky mirage.
 
But I was wrong about the rest of them. They were smiling and waving at each other, not at me. Could it be that the Spiritualists were wrong and the dead weren’t interested in the living after all? Though some of them were still alive, and I was the one who was supposed to be dead; they should have been mourning but instead they seemed quite cheerful. It wasn’t fair. I tried to will something ominous onto their beach – a colossal stone head, a collapsing horse – but with no result. In fact it was less like a Fellini movie than that Walt Disney film I saw when I was eight, about a whale who wanted to sing at the Metropolitan Opera. He approached a ship and sang arias, but the sailors harpooned him, and each of his voices left his body in a different-colored soul and floated up towards the sun, still singing. The Whale Who Wanted to Sing at the Met, I think it was called. At the time I cried ferociously.
 
It was this memory that really set me off. I never learned to cry with style, silently, the pearl-shaped tears rolling down my cheeks from wide luminous eyes, as on the covers of True Love comics, leaving no smears or streaks. I wished I had; then I could have done it in front of people, instead of in bathrooms, darkened movie theaters, shrubberies and empty bedrooms, among the party coats on the bed. If you could cry silently people felt sorry for you. As it was I snorted, my eyes turned the color and shape of cooked tomatoes, my nose ran, I clenched my fists, I moaned, I was embarrassing, finally I was amusing, a figure of fun. The grief was always real but it came out as a burlesque of grief, an overblown imitation like the neon rose on White Rose Gasoline stations, gone forever now. . . . Decorous weeping was another of those arts I never mastered, like putting on false eyelashes. I should’ve had a governess, I should have gone to finishing school and had a board strapped to my back and learned water-color painting and self-control.
 
You can’t change the past, Aunt Lou used to say. Oh, but I wanted to; that was the one thing I really wanted to do. Nostalgia convulsed me. The sky was blue, the sun was shin ing, to the left a puddle of glass fragments shimmered like water; a small green lizard with iridescent blue eyes warmed its cool blood on the railing; from the valley came a tinkling sound, a soothing moo, the lull of alien voices. I was safe, I could begin again, but instead I sat on my bal cony, beside the remains of a kitchen window broken before my time, in a chair made of aluminum tubes and yellow plastic strips, and made choking noises.
 
The chair belonged to Mr. Vitroni, the landlord, who was fond of felt-tipped pens with different colors of ink, red, pink, purple, orange, a taste I shared. He used his to show the other people in the town that he could write. I used mine for lists and love letters, sometimes both at once: Have gone to pick up some coffee, XXX. The thought of these abandoned shopping trips intensified my sorrow . . . no more grapefruits, cut in half for two, with a red maraschino cherry like a navel boss, which Arthur habitually rolled to the side of the plate; no more oatmeal porridge, loathed by me, extolled by Arthur, lumping and burning because I hadn’t taken his advice and done it in a double boiler. . . . Years of breakfasts, inept, forsaken, never to be recovered. . . . Years of murdered breakfasts, why had I done it?
 
I realized I’d come to the worst place in the entire world. I should have gone somewhere fresh and clean, somewhere I’d never been before. Instead I’d returned to the same town, the same house even, where we’d spent the summer the year before. And nothing had changed: I’d have to cook on the same two-burner stove with the gas cylinder, bombola, that ran out always in the middle of a halfdone meal; eat at the same table, which still had the white rings on the varnish from my former carelessness with hot cups; sleep in the same bed, its mattress furrowed with age and the anxieties of many tenants. The wraith of Arthur would pursue me; already I could hear faint gargling noises from the bathroom, the crunch of glass as he scraped back his chair on the balcony, waiting for me to pass his cup of coffee out to him through the kitchen window. If I opened my eyes and turned my head, surely he would be there, newspaper held six inches from his face, pocket dictionary on one knee, left index finger inserted (perhaps) in his ear, an unconscious gesture he denied performing.
 
It was my own stupidity, my own fault. I should have gone to Tunisia or the Canary Islands or even Miami Beach, on the Grey - hound Bus, hotel included, but I didn’t have the willpower; I needed something more familiar. A place with no handholds, no landmarks, no past at all: that would have been too much like dying.  By this time I was weeping spasmodically into one of the landlord’s bath towels and I’d thrown another one over my head, an old habit: I used to cry under pillows so as not to be found out. But through the towel I could now hear an odd clicking sound. It must’ve been going on for a while. I listened, and it stopped. I raised the towel. There, at the level of my ankles and only three feet away, floated a head, an old man’s head, topped by a raveling straw hat. The whitish eyes stared at me with either alarm or disapproval; the mouth, caved in over the gums, was open at one side. He must’ve heard me. Perhaps he thought I was having an attack of some kind, in my underwear, towel-covered on a balcony. Perhaps he thought I was drunk.
 
I smiled damply, to reassure him, clutched my towels around me and tried to get out of the aluminum chair, remembering too late its trick of folding up if you struggled. I lost several of the towels before I was able to back in through the door.
 
I’d recognized the old man. It was the same old man who used to come one or two afternoons a week to tend the artichokes on the arid terrace below the house, cutting the larger weeds with a pair of rusty shears and snipping off the leathery artichoke heads when they were ready. Unlike the other people in the town, he never said anything to me or returned a word of greeting. He gave me the creeps.
 
I put on my dress (out of sight of the picture window, behind the door) and went into the bathroom to swab my face with a dampened washcloth and blow my nose on some of Mr. Vitroni’s scratchy toilet paper; then to the kitchen to make a cup of tea.
 
For the first time since arriving, I began to feel afraid. It was more than depressing to have returned to this town, it was dangerous. It’s no good thinking you’re invisible if you aren’t, and the problem was: if I had recognized the old man, perhaps he had recognized me.

Elizabeth

Friday, October 29, 1976

I don't know how I should live. I don't know how anyone should live. All I know is how I do live. I live like a peeled snail. And that's no way to make money.

I want that shell back, it took me long enough to make. You've got it with you, wherever you are. You were good at removing. I want a shell like a sequined dress, made of silver nickels and dimes and dollars overlapping like the scales of an armadillo. Armored dildo. Impermeable; like a French raincoat.

I wish I didn't have to think about you. You wanted to impress me; well, I'm not impressed, I'm disgusted. That was a disgusting thing to do, childish and stupid. A tantrum, smashing a doll, but what you smashed was your own head, your own body. You wanted to make damn good and sure I'd never be able to turn over in bed again without feeling that body beside me, not there but tangible, like a leg that's been cut off. Gone but the place still hurts. You wanted me to cry, mourn, sit in a rocker with a black-edged handkerchief, bleeding from the eyes. But I'm not crying, I'm angry. I'm so angry I could kill you. If you hadn't already done that for yourself.

Elizabeth is lying on her back, clothes on and unrumpled, shoes placed side by side on the bedside rug, a braided oval bought at Nick Knack's four years ago when she was still interested in home furnishings, guaranteed genuine old lady twisted rags. Arms at her sides, feet together, eyes open. She can see part of the ceiling, that's all. A small crack runs across her field of vision, a smaller crack branching out from it. Nothing will happen, nothing will open, the crack will not widen and split and nothing will come through it. All it means is that the ceiling needs to be repainted, not this year but the next. Elizabeth tries to concentrate on the words "next year," finds she can't.

To the left there is a blur of light; if she turns her head she will see the window, hung with spider plants, the Chinese split-bamboo blind half rolled up. She called the office after lunch and told them she would not be in. She's been doing that too often; she needs her job.

She is not in. She's somewhere between her body, which is lying sedately on the bed, on top of the Indian print spread, tigers and flowers, wearing a black turtleneck pullover, a straight black skirt, a mauve slip, a beige brassiere with a front closing, and a pair of pantyhose, the kind that come in plastic eggs, and the ceiling with its hairline cracks. She can see herself there, a thickening of the air, like albumin. What comes out when you boil an egg and the shell cracks. She knows about the vacuum on the other side of the ceiling, which is not the same as the third floor where the tenants live. Distantly, like tiny thunder, their child is rolling marbles across the floor. Into the black vacuum the air is being sucked with a soft, barely audible whistle. She could be pulled up and into it like smoke.

She can't move her fingers. She thinks about her hands, lying at her sides, rubber gloves: she thinks about forcing the bones and flesh down into those shapes of hands, one finger at a time, like dough.

Through the door, which she's left open an inch out of habit, always on call like the emergency department of a hospital, listening even now for crashes, sounds of breakage, screams, comes the smell of scorching pumpkin. Her children have lighted their jack-o'-lanterns, even though there are still two days before Halloween. And it isn't even dark yet, though the light at the side of her head is fading. They love so much to dress up, to put on masks and costumes and run through the streets, through the dead leaves, to knock on the doors of strangers, holding out their paper bags. What hope. It used to touch her, that excitement, that fierce joy, the planning that would go on for weeks behind the closed door of their room. It used to twist something in her, some key. This year they are remote from her. The soundless glass panel of the hospital nursery where she would stand in her housecoat for each of them in turn, watching the pink mouths open and close, the faces contort.

She can see them, they can see her. They know something is wrong. Their politeness, their evasion, is chilling because it's so perfectly done.

They've been watching me. They've been watching us for years. Why wouldn't they know how to do it? They act as though everything is normal, and maybe for them it is normal. Soon they will want dinner and I will make it. I will lower myself down from this bed and make the dinner, and tomorrow I will see them off to school and then I will go to the office. That is the proper order.

Elizabeth used to cook, very well too. It was at the same time as her interest in rugs. She still cooks, she peels some things and heats others. Some things harden, others become softer; white turns to brown. It goes on. But when she thinks about food she doesn't see the bright colors, red, green, orange, featured in the Gourmet Cookbook. Instead she sees the food as illustrations from those magazine articles that show how much fat there is in your breakfast. Dead white eggs, white strips of bacon, white butter. Chickens, roasts and steaks modeled from bland lard. That's what all food tastes like to her now. Nevertheless she eats, she overeats, weighting herself down.

There's a small knock, a step. Elizabeth moves her eyes down. In the oak-framed oval mirror above the dressing table she can see the door opening, the darkness of the hall behind, Nate's face bobbing like a pale balloon. He comes into the room, breaking the invisible thread she habitually stretches across the threshold to keep him out, and she is able to turn her head. She smiles at him.

"How are you, love?" he says. "I've brought you some tea."

Nate

Friday, October 29, 1976

He doesn't know what "love" means between them any more, though they always say it. For the sake of the children. He can't remember when he started knocking at her door, or when he stopped considering it his door. When they moved the children into one room together and he took the vacant bed. The vacant bed, she called it then. Now she calls it the extra bed.

He sets the cup of tea down on the night table, beside the clock radio that wakes her every morning with cheerful breakfast news. There's an ashtray, no butts; why should there be? She doesn't smoke. Though Chris did.

When Nate slept in this room there were ashes, matches, ringed glasses, pennies from his pockets. They used to save them in a peanut butter jar and buy small gifts with them for each other. Mad money, she called it. Now he still empties the pennies out of his pockets every night; they accumulate like mouse droppings on top of the bureau in his room, his own room. Your own room, she calls it, as if to keep him in there.

She looks up at him, her face leached of color, eyes dark-circled, smile wan. She doesn't have to try; she always tries.

"Thanks, love," she says. "I'll get up in a minute."

"I'll make dinner tonight, if you like," Nate says, wanting to be helpful, and Elizabeth agrees listlessly. Her listlessness, her lack of encouragement, infuriates him, but he says nothing, turns and closes the door softly behind him. He made the gesture and she acts as if it means nothing.

Nate goes to the kitchen, opens the refrigerator and pokes through it. It's like rummaging through a drawer of jumbled clothes. Leftovers in jars, bean sprouts gone bad, spinach in a plastic bag starting to decay, giving off that smell of decomposing lawn. No use expecting Elizabeth to clean it. She used to clean it. She will clean other things these days, but not the refrigerator. He'll tidy it up himself, tomorrow or the next day, when he gets around to it.

Meanwhile he'll have to improvise dinner. It's no large trial, he's often helped with the cooking, but in former times--he thinks of it as the olden days, like a bygone romantic era, like some Disneyland movie about knighthood--there were always supplies. He does most of the grocery shopping himself now, carting a bag or two home in the basket of his bicycle, but he forgets things and gaps are left in the day: no eggs, no toilet paper. Then he has to send the kids to the corner store, where everything is more expensive. Before, before he sold the car, it wasn't such a problem. He took Elizabeth once a week, on Saturdays, and helped her put the cans and frozen packages away when they got home.

Nate picks the dripping spinach out of the vegetable crisper and carries it to the garbage can; it oozes green liquid. He counts the eggs: not enough for omelettes. He'll have to make macaroni and cheese again, which is all right since the kids love it. Elizabeth will not love it but she will eat it, she'll wolf it down absently as if it's the last thing on her mind, smiling like a slowly grilling martyr, staring past him at the wall.

Nate stirs and grates, stirs and grates. An ash drops from his cigarette, missing the pot. It isn't his fault Chris blew his head off with a shotgun. A shotgun: this sums up the kind of extravagance, hysteria, he's always found distasteful in Chris. He himself would have used a pistol. If he were going to do it at all. What gets him is the look she gave him when the call came through: At least he had the guts. At least he was serious. She's never said it of course, but he's sure she compares them, judges him unfavorably because he's still alive. Chickenshit, to be still alive. No balls.

Yet at the same time, still without saying it, he knows she blames him, for the whole thing. If you had only been this or that, done this or that--he doesn't know what--it wouldn't have happened. I wouldn't have been driven, forced, compelled . . . that's her view, that he failed her, and this undefined failure of his turned her into a quivering mass of helpless flesh, ready to attach itself like a suction cup to the first crazy man who ambled along and said, You have nice tits. Or whatever it was Chris did say to get her to open the Love Latch on her brassiere. Probably more like, You have nice ramifications. Chess-players are like that. Nate knows: he used to be one himself. Nate can never figure out why women find chess-playing sexy. Some women.

So for a week now, ever since that night, she's spent the afternoons in there lying on the bed that used to be his, half his, and he's been bringing her cups of tea, one each afternoon. She accepts them with that dying swan took of hers, the took he can't stand and can't resist. It's your fault, darling, but you may bring me cups of tea. Scant atonement. And an aspirin out of the bathroom and a glass of water. Thank you. Now go away somewhere and feel guilty. He's a sucker for it. Like a good boy.

And he was the one, not her, not Elizabeth, who had to go and identify the body. As her stricken eyes said, she could hardly be expected to. So dutifully he had gone. Standing in that apartment where he'd been only twice but where she had been at least once every week for the past two years, fighting nausea, nerving himself to look, he'd felt that she was there in the room with them, a curve in space, a watcher. More so than Chris. No head left at all, to speak of. The headless horseman. But recognizable. Chris's expression had never really been in that heavy flat face of his; not like most people's. It had been in his body. The head had been a troublemaker, which was probably why Chris had chosen to shoot at it instead of at some other part of himself. He wouldn't have wanted to mutilate his body.

A floor, a table, a chess set by the bed, a bed with what they called the trunk and limbs lying on it; Nate's other body, joined to him by that tenuous connection, that hole in space controlled by Elizabeth. Chris had put on a suit and tic, and a white shirt. Nate, thinking of that ceremony--the thick hands knotting the tie, straightening it in the mirror, God, his shoes were shined even--wanted to cry. He put his hands in his jacket pockets; his fingers closed on pennies, the house key.

"Any reason why he left your number on the table?" the second policeman said.

"No," Nate said. "We were friends of his, I guess."

"Both of you?" the first policeman said.

"Yes," said Nate.

Janet comes into the kitchen as he's sliding the casserole dish into the oven.

"What's for dinner?" she asks, adding "Dad," as if to remind him who he is.

Nate finds this question suddenly so mournful that for a moment he can't answer. It's a question from former times, the olden days. His eyes blur. He wants to drop the casserole on the floor and pick her up, hug her, but instead he closes the oven door gently.

"Macaroni and cheese," he says.

"Yum," she says, her voice remote, guarded, giving a careful imitation of pleasure. "With tomato sauce?"

"No," he says, "there wasn't any."

Janet runs her thumb across the kitchen table, squeaking it on the wood. She does this twice. "Is Mum resting?" she says.

"Yes," Nate says. Then, fatuously, "I took her a cup of tea." He puts one hand behind him, against the kitchen counter. They both know what to avoid.

"Well," Janet says in the voice of a small adult, "I'll be seeing you soon." She turns and goes back through the kitchen door.

Nate wants to do something, perform something, smash his hand through the kitchen window. But on the other side of the glass there's a screen. That would neutralize him. Whatever he does now will be absurd. What is smashing a window compared with blowing off your head? Cornered. If she'd planned it, she couldn't have done it better.

Lesje

Friday, October 29, 1976

Lesje is wandering in prehistory. Under a sun more orange than her own has ever been, in the middle of a swampy plain lush with thick-stalked plants and oversized ferns, a group of bony-plated stegosaurs is grazing. Around the edges of this group, protected by its presence but unrelated to it, are a few taller, more delicate camptosaurs. Cautious, nervous, they lift their small heads from time to time, raising themselves on their hind legs to sniff at the air. If there is danger they will give the alarm first. Closer to her, a flock of medium-sized pterosaurs glides from one giant tree-fern to another. Lesje crouches in the topmost frond-cluster of one of these trees, watching through binoculars, blissful, uninvolved. None of the dinosaurs takes the slightest interest in her. If they do happen to see or smell her, they will not notice her. She is something so totally alien to them that they will not be able to focus on her. When the aborigines sighted Captain Cook's ships, they ignored them because they knew such things could not exist. It's the next best thing to being invisible.

Elizabeth

Friday, October 29, 1976

I don't know how I should live. I don't know how anyone should live. All I know is how I do live. I live like a peeled snail. And that's no way to make money.

I want that shell back, it took me long enough to make. You've got it with you, wherever you are. You were good at removing. I want a shell like a sequined dress, made of silver nickels and dimes and dollars overlapping like the scales of an armadillo. Armored dildo. Impermeable; like a French raincoat.

I wish I didn't have to think about you. You wanted to impress me; well, I'm not impressed, I'm disgusted. That was a disgusting thing to do, childish and stupid. A tantrum, smashing a doll, but what you smashed was your own head, your own body. You wanted to make damn good and sure I'd never be able to turn over in bed again without feeling that body beside me, not there but tangible, like a leg that's been cut off. Gone but the place still hurts. You wanted me to cry, mourn, sit in a rocker with a black-edged handkerchief, bleeding from the eyes. But I'm not crying, I'm angry. I'm so angry I could kill you. If you hadn't already done that for yourself.

Elizabeth is lying on her back, clothes on and unrumpled, shoes placed side by side on the bedside rug, a braided oval bought at Nick Knack's four years ago when she was still interested in home furnishings, guaranteed genuine old lady twisted rags. Arms at her sides, feet together, eyes open. She can see part of the ceiling, that's all. A small crack runs across her field of vision, a smaller crack branching out from it. Nothing will happen, nothing will open, the crack will not widen and split and nothing will come through it. All it means is that the ceiling needs to be repainted, not this year but the next. Elizabeth tries to concentrate on the words "next year," finds she can't.

To the left there is a blur of light; if she turns her head she will see the window, hung with spider plants, the Chinese split-bamboo blind half rolled up. She called the office after lunch and told them she would not be in. She's been doing that too often; she needs her job.

She is not in. She's somewhere between her body, which is lying sedately on the bed, on top of the Indian print spread, tigers and flowers, wearing a black turtleneck pullover, a straight black skirt, a mauve slip, a beige brassiere with a front closing, and a pair of pantyhose, the kind that come in plastic eggs, and the ceiling with its hairline cracks. She can see herself there, a thickening of the air, like albumin. What comes out when you boil an egg and the shell cracks. She knows about the vacuum on the other side of the ceiling, which is not the same as the third floor where the tenants live. Distantly, like tiny thunder, their child is rolling marbles across the floor. Into the black vacuum the air is being sucked with a soft, barely audible whistle. She could be pulled up and into it like smoke.

She can't move her fingers. She thinks about her hands, lying at her sides, rubber gloves: she thinks about forcing the bones and flesh down into those shapes of hands, one finger at a time, like dough.

Through the door, which she's left open an inch out of habit, always on call like the emergency department of a hospital, listening even now for crashes, sounds of breakage, screams, comes the smell of scorching pumpkin. Her children have lighted their jack-o'-lanterns, even though there are still two days before Halloween. And it isn't even dark yet, though the light at the side of her head is fading. They love so much to dress up, to put on masks and costumes and run through the streets, through the dead leaves, to knock on the doors of strangers, holding out their paper bags. What hope. It used to touch her, that excitement, that fierce joy, the planning that would go on for weeks behind the closed door of their room. It used to twist something in her, some key. This year they are remote from her. The soundless glass panel of the hospital nursery where she would stand in her housecoat for each of them in turn, watching the pink mouths open and close, the faces contort.

She can see them, they can see her. They know something is wrong. Their politeness, their evasion, is chilling because it's so perfectly done.

They've been watching me. They've been watching us for years. Why wouldn't they know how to do it? They act as though everything is normal, and maybe for them it is normal. Soon they will want dinner and I will make it. I will lower myself down from this bed and make the dinner, and tomorrow I will see them off to school and then I will go to the office. That is the proper order.

Elizabeth used to cook, very well too. It was at the same time as her interest in rugs. She still cooks, she peels some things and heats others. Some things harden, others become softer; white turns to brown. It goes on. But when she thinks about food she doesn't see the bright colors, red, green, orange, featured in the Gourmet Cookbook. Instead she sees the food as illustrations from those magazine articles that show how much fat there is in your breakfast. Dead white eggs, white strips of bacon, white butter. Chickens, roasts and steaks modeled from bland lard. That's what all food tastes like to her now. Nevertheless she eats, she overeats, weighting herself down.

There's a small knock, a step. Elizabeth moves her eyes down. In the oak-framed oval mirror above the dressing table she can see the door opening, the darkness of the hall behind, Nate's face bobbing like a pale balloon. He comes into the room, breaking the invisible thread she habitually stretches across the threshold to keep him out, and she is able to turn her head. She smiles at him.

"How are you, love?" he says. "I've brought you some tea."

Nate

Friday, October 29, 1976

He doesn't know what "love" means between them any more, though they always say it. For the sake of the children. He can't remember when he started knocking at her door, or when he stopped considering it his door. When they moved the children into one room together and he took the vacant bed. The vacant bed, she called it then. Now she calls it the extra bed.

He sets the cup of tea down on the night table, beside the clock radio that wakes her every morning with cheerful breakfast news. There's an ashtray, no butts; why should there be? She doesn't smoke. Though Chris did.

When Nate slept in this room there were ashes, matches, ringed glasses, pennies from his pockets. They used to save them in a peanut butter jar and buy small gifts with them for each other. Mad money, she called it. Now he still empties the pennies out of his pockets every night; they accumulate like mouse droppings on top of the bureau in his room, his own room. Your own room, she calls it, as if to keep him in there.

She looks up at him, her face leached of color, eyes dark-circled, smile wan. She doesn't have to try; she always tries.

"Thanks, love," she says. "I'll get up in a minute."

"I'll make dinner tonight, if you like," Nate says, wanting to be helpful, and Elizabeth agrees listlessly. Her listlessness, her lack of encouragement, infuriates him, but he says nothing, turns and closes the door softly behind him. He made the gesture and she acts as if it means nothing.

Nate goes to the kitchen, opens the refrigerator and pokes through it. It's like rummaging through a drawer of jumbled clothes. Leftovers in jars, bean sprouts gone bad, spinach in a plastic bag starting to decay, giving off that smell of decomposing lawn. No use expecting Elizabeth to clean it. She used to clean it. She will clean other things these days, but not the refrigerator. He'll tidy it up himself, tomorrow or the next day, when he gets around to it.

Meanwhile he'll have to improvise dinner. It's no large trial, he's often helped with the cooking, but in former times--he thinks of it as the olden days, like a bygone romantic era, like some Disneyland movie about knighthood--there were always supplies. He does most of the grocery shopping himself now, carting a bag or two home in the basket of his bicycle, but he forgets things and gaps are left in the day: no eggs, no toilet paper. Then he has to send the kids to the corner store, where everything is more expensive. Before, before he sold the car, it wasn't such a problem. He took Elizabeth once a week, on Saturdays, and helped her put the cans and frozen packages away when they got home.

Nate picks the dripping spinach out of the vegetable crisper and carries it to the garbage can; it oozes green liquid. He counts the eggs: not enough for omelettes. He'll have to make macaroni and cheese again, which is all right since the kids love it. Elizabeth will not love it but she will eat it, she'll wolf it down absently as if it's the last thing on her mind, smiling like a slowly grilling martyr, staring past him at the wall.

Nate stirs and grates, stirs and grates. An ash drops from his cigarette, missing the pot. It isn't his fault Chris blew his head off with a shotgun. A shotgun: this sums up the kind of extravagance, hysteria, he's always found distasteful in Chris. He himself would have used a pistol. If he were going to do it at all. What gets him is the look she gave him when the call came through: At least he had the guts. At least he was serious. She's never said it of course, but he's sure she compares them, judges him unfavorably because he's still alive. Chickenshit, to be still alive. No balls.

Yet at the same time, still without saying it, he knows she blames him, for the whole thing. If you had only been this or that, done this or that--he doesn't know what--it wouldn't have happened. I wouldn't have been driven, forced, compelled . . . that's her view, that he failed her, and this undefined failure of his turned her into a quivering mass of helpless flesh, ready to attach itself like a suction cup to the first crazy man who ambled along and said, You have nice tits. Or whatever it was Chris did say to get her to open the Love Latch on her brassiere. Probably more like, You have nice ramifications. Chess-players are like that. Nate knows: he used to be one himself. Nate can never figure out why women find chess-playing sexy. Some women.

So for a week now, ever since that night, she's spent the afternoons in there lying on the bed that used to be his, half his, and he's been bringing her cups of tea, one each afternoon. She accepts them with that dying swan took of hers, the took he can't stand and can't resist. It's your fault, darling, but you may bring me cups of tea. Scant atonement. And an aspirin out of the bathroom and a glass of water. Thank you. Now go away somewhere and feel guilty. He's a sucker for it. Like a good boy.

And he was the one, not her, not Elizabeth, who had to go and identify the body. As her stricken eyes said, she could hardly be expected to. So dutifully he had gone. Standing in that apartment where he'd been only twice but where she had been at least once every week for the past two years, fighting nausea, nerving himself to look, he'd felt that she was there in the room with them, a curve in space, a watcher. More so than Chris. No head left at all, to speak of. The headless horseman. But recognizable. Chris's expression had never really been in that heavy flat face of his; not like most people's. It had been in his body. The head had been a troublemaker, which was probably why Chris had chosen to shoot at it instead of at some other part of himself. He wouldn't have wanted to mutilate his body.

A floor, a table, a chess set by the bed, a bed with what they called the trunk and limbs lying on it; Nate's other body, joined to him by that tenuous connection, that hole in space controlled by Elizabeth. Chris had put on a suit and tic, and a white shirt. Nate, thinking of that ceremony--the thick hands knotting the tie, straightening it in the mirror, God, his shoes were shined even--wanted to cry. He put his hands in his jacket pockets; his fingers closed on pennies, the house key.

"Any reason why he left your number on the table?" the second policeman said.

"No," Nate said. "We were friends of his, I guess."

"Both of you?" the first policeman said.

"Yes," said Nate.

Janet comes into the kitchen as he's sliding the casserole dish into the oven.

"What's for dinner?" she asks, adding "Dad," as if to remind him who he is.

Nate finds this question suddenly so mournful that for a moment he can't answer. It's a question from former times, the olden days. His eyes blur. He wants to drop the casserole on the floor and pick her up, hug her, but instead he closes the oven door gently.

"Macaroni and cheese," he says.

"Yum," she says, her voice remote, guarded, giving a careful imitation of pleasure. "With tomato sauce?"

"No," he says, "there wasn't any."

Janet runs her thumb across the kitchen table, squeaking it on the wood. She does this twice. "Is Mum resting?" she says.

"Yes," Nate says. Then, fatuously, "I took her a cup of tea." He puts one hand behind him, against the kitchen counter. They both know what to avoid.

"Well," Janet says in the voice of a small adult, "I'll be seeing you soon." She turns and goes back through the kitchen door.

Nate wants to do something, perform something, smash his hand through the kitchen window. But on the other side of the glass there's a screen. That would neutralize him. Whatever he does now will be absurd. What is smashing a window compared with blowing off your head? Cornered. If she'd planned it, she couldn't have done it better.

Lesje

Friday, October 29, 1976

Lesje is wandering in prehistory. Under a sun more orange than her own has ever been, in the middle of a swampy plain lush with thick-stalked plants and oversized ferns, a group of bony-plated stegosaurs is grazing. Around the edges of this group, protected by its presence but unrelated to it, are a few taller, more delicate camptosaurs. Cautious, nervous, they lift their small heads from time to time, raising themselves on their hind legs to sniff at the air. If there is danger they will give the alarm first. Closer to her, a flock of medium-sized pterosaurs glides from one giant tree-fern to another. Lesje crouches in the topmost frond-cluster of one of these trees, watching through binoculars, blissful, uninvolved. None of the dinosaurs takes the slightest interest in her. If they do happen to see or smell her, they will not notice her. She is something so totally alien to them that they will not be able to focus on her. When the aborigines sighted Captain Cook's ships, they ignored them because they knew such things could not exist. It's the next best thing to being invisible.

An excerpt from “The Art of Cooking and Serving,” from Margaret Atwood’s Moral Disorder
I'd been told about the expectant state of my mother in May, by my father. It had made me very anxious, partly because I'd also been told that until my new baby brother or sister had arrived safely my mother would be in a dangerous condition. Something terrible might happen to her -- something that might make her very ill -- and it was all the more likely to happen if I myself did not pay proper attention. My father did not say what this thing was, but his gravity and terseness meant that it was a serious business.

My mother -- said my father -- was not supposed to sweep the floor, or carry anything heavy such as pails of water, or bend down much, or lift bulky objects. We would all have to pitch in, said my father, and do extra tasks. It would be my brother's job to mow the lawn, from now until June, when we would go up north. (Up north there was no lawn. In any case my brother wouldn't be there: he was heading off to a camp for boys, to do things with axes in the woods.) As for me, I would just have to be generally helpful. More helpful than usual, my father added in a manner that was meant to be encouraging. He himself would be helpful too, of course. But he couldn't be there all the time. He had some work to do, when we would be at what other people called the cottage but we called the island. (Cottages had iceboxes and gas generators and waterskiing, all of which we lacked.) It was necessary for him to be away, which was unfortunate, he continued. But he would not be gone for very long, and he was sure I would be up to it.

I myself was not so sure. He always thought I knew more than I knew, and that I was bigger than I was, and older, and hardier. What he mistook for calmness and competence was actually fright: that was why I stared at him in silence, nodding my head. The danger that loomed was so vague, and therefore so large -- how could I even prepare for it? At the back of my mind, my feat of knitting was a sort of charm, like the fairy-tale suits of nettles mute princesses were supposed to make for their swan-shaped brothers, to turn them back into human beings. If I could only complete the full set of baby garments, the baby that was supposed to fit inside them would be conjured into the world, and thus out of my mother. Once outside, where I could see it -- once it had a face -- it could be dealt with. As it was, the thing was a menace.

THE MOMENT
The moment when, after many years
of hard work and a long voyage
you stand in the centre of your room,
house, half-acre, square mile, island, country,
knowing at last how you got there,
and say, I own this,

is the same moment the trees unloose
their soft arms from around you,
the birds take back their language,
the cliffs fissure and collapse,
the air moves back from you like a wave
and you can’t breathe.
S
No, they whisper. You own nothing.
You were a visitor, time after time
climbing the hill, planting the flag, proclaiming.
We never belonged to you.
You never found us.
It was always the other way round.

1

Mango
Snowman wakes before dawn. He lies unmoving, listening to the tide coming in, wave after wave sloshing over the various barricades, wish-wash, wish-wash, the rhythm of heartbeat. He would so like to believe he is still asleep.

On the eastern horizon there's a greyish haze, lit now with a rosy, deadly glow. Strange how that colour still seems tender. The offshore towers stand out in dark silhouette against it, rising improbably out of the pink and pale blue of the lagoon. The shrieks of the birds that nest out there and the distant ocean grinding against the ersatz reefs of rusted car parts and jumbled bricks and assorted rubble sound almost like holiday traffic.

Out of habit he looks at his watch - stainless-steel case, burnished aluminum band, still shiny although it no longer works. He wears it now as his only talisman. A blank face is what it shows him: zero hour. It causes a jolt of terror to run through him, this absence of official time. Nobody nowhere knows what time it is.

"Calm down," he tells himself. He takes a few deep breaths, then scratches his bug bites, around but not on the itchiest places, taking care not to knock off any scabs: blood poisoning is the last thing he needs. Then he scans the ground below for wildlife: all quiet, no scales and tails. Left hand, right foot, right hand, left foot, he makes his way down from the tree. After brushing off the twigs and bark, he winds his dirty bedsheet around himself like a toga. He's hung his authentic-replica Red Sox baseball cap on a branch overnight for safekeeping; he checks inside it, flicks out a spider, puts it on.

He walks a couple of yards to the left, pisses into the bushes. "Heads up," he says to the grasshoppers that whir away at the impact. Then he goes to the other side of the tree, well away from his customary urinal, and rummages around in the cache he's improvised from a few slabs of concrete, lining it with wire mesh to keep out the rats and mice. He's stashed some mangoes there, knotted in a plastic bag, and a can of Sveltana No-Meat Cocktail Sausages, and a precious half-bottle of Scotch - no, more like a third - and a chocolate-flavoured energy bar scrounged from a trailer park, limp and sticky inside its foil. He can't bring himself to eat it yet: it might be the last one he'll ever find. He keeps a can opener there too, and for no particular reason an ice pick; and six empty beer bottles, for sentimental reasons and for storing fresh water. Also his sunglasses; he puts them on. One lens is missing but they're better than nothing.

He undoes the plastic bag: there's only a single mango left. Funny, he remembered more. The ants have got in, even though he tied the bag as tightly as he could. Already they're running up his arms, the black kind and the vicious little yellow kind. Surprising what a sharp sting they can give, especially the yellow ones. He rubs them away.

"It is the strict adherence to daily routine that tends towards the maintenance of good morale and the preservation of sanity," he says out loud. He has the feeling he's quoting from a book, some obsolete, ponderous directive written in aid of European colonials running plantations of one kind or another. He can't recall ever having read such a thing, but that means nothing. There are a lot of blank spaces in his stub of a brain, where memory used to be. Rubber plantations, coffee plantations, jute plantations. (What was jute?) They would have been told to wear solar topis, dress for dinner, refrain from raping the natives. It wouldn't have said raping. Refrain from fraternizing with the female inhabitants. Or, put some other way . . .

He bets they didn't refrain, though. Nine times out of ten.

"In view of the mitigating," he says. He finds himself standing with his mouth open, trying to remember the rest of the sentence. He sits down on the ground and begins to eat the mango.

Flotsam
On the white beach, ground-up coral and broken bones, a group of the children are walking. They must have been swimming, they're still wet and glistening. They should be more careful: who knows what may infest the lagoon? But they're unwary; unlike Snowman, who won't dip a toe in there even at night, when the sun can't get at him. Revision: especially at night.

He watches them with envy, or is it nostalgia? It can't be that: he never swam in the sea as a child, never ran around on a beach without any clothes on. The children scan the terrain, stoop, pick up flotsam; then they deliberate among themselves, keeping some items, discarding others; their treasures go into a torn sack. Sooner or later - he can count on it - they'll seek him out where he sits wrapped in his decaying sheet, hugging his shins and sucking on his mango, in under the shade of the trees because of the punishing sun. For the children - thick-skinned, resistant to ultraviolet - he's a creature of dimness, of the dusk.

Here they come now. "Snowman, oh Snowman," they chant in their singsong way. They never stand too close to him. Is that from respect, as he'd like to think, or because he stinks?

(He does stink, he knows that well enough. He's rank, he's gamy, he reeks like a walrus - oily, salty, fishy - not that he's ever smelled such a beast. But he's seen pictures.)

Opening up their sack, the children chorus, "Oh Snowman, what have we found?" They lift out the objects, hold them up as if offering them for sale: a hubcap, a piano key, a chunk of pale-green pop bottle smoothed by the ocean. A plastic BlyssPluss container, empty; a ChickieNobs Bucket O'Nubbins, ditto. A computer mouse, or the busted remains of one, with a long wiry tail.

Snowman feels like weeping. What can he tell them? There's no way of explaining to them what these curious items are, or were. But surely they've guessed what he'll say, because it's always the same.

"These are things from before." He keeps his voice kindly but remote. A cross between pedagogue, soothsayer, and benevolent uncle - that should be his tone.

"Will they hurt us?" Sometimes they find tins of motor oil, caustic solvents, plastic bottles of bleach. Booby traps from the past. He's considered to be an expert on potential accidents: scalding liquids, sickening fumes, poison dust. Pain of odd kinds.

"These, no," he says. "These are safe." At this they lose interest, let the sack dangle. But they don't go away: they stand, they stare. Their beachcombing is an excuse. Mostly they want to look at him, because he's so unlike them. Every so often they ask him to take off his sunglasses and put them on again: they want to see whether he has two eyes really, or three.

"Snowman, oh Snowman," they're singing, less to him than to one another. To them his name is just two syllables. They don't know what a snowman is, they've never seen snow.

It was one of Crake's rules that no name could be chosen for which a physical equivalent - even stuffed, even skeletal - could not be demonstrated. No unicorns, no griffins, no manticores or basilisks. But those rules no longer apply, and it's given Snowman a bitter pleasure to adopt this dubious label. The Abominable Snowman - existing and not existing, flickering at the edges of blizzards, apelike man or manlike ape, stealthy, elusive, known only through rumours and through its backward-pointing footprints. Mountain tribes were said to have chased it down and killed it when they had the chance. They were said to have boiled it, roasted it, held special feasts; all the more exciting, he supposes, for bordering on cannibalism.

For present purposes he's shortened the name. He's only Snowman. He's kept the abominable to himself, his own secret hair shirt.

After a few moments of hesitation the children squat down in a half-circle, boys and girls together. A couple of the younger ones are still munching on their breakfasts, the green juice running down their chins. It's discouraging how grubby everyone gets without mirrors. Still, they're amazingly attractive, these children - each one naked, each one perfect, each one a different skin colour - chocolate, rose, tea, butter, cream, honey - but each with green eyes. Crake's aesthetic.

They're gazing at Snowman expectantly. They must be hoping he'll talk to them, but he isn't in the mood for it today. At the very most he might let them see his sunglasses, up close, or his shiny, dysfunctional watch, or his baseball cap. They like the cap, but don't understand his need for such a thing - removable hair that isn't hair - and he hasn't yet invented a fiction for it.

They're quiet for a bit, staring, ruminating, but then the oldest one starts up. "Oh Snowman, please tell us - what is that moss growing out of your face?" The others chime in. "Please tell us, please tell us!" No nudging, no giggling: the question is serious.

"Feathers," he says.

They ask this question at least once a week. He gives the same answer. Even over such a short time - two months, three? He's lost count - they've accumulated a stock of lore, of conjecture about him: Snowman was once a bird but he's forgotten how to fly and the rest of his feathers fell out, and so he is cold and he needs a second skin, and he has to wrap himself up. No: he's cold because he eats fish, and fish are cold. No: he wraps himself up because he's missing his man thing, and he doesn't want us to see. That's why he won't go swimming. Snowman has wrinkles because he once lived underwater and it wrinkled up his skin. Snowman is sad because the others like him flew away over the sea, and now he is all alone.

"I want feathers too," says the youngest. A vain hope: no beards on the men, among the Children of Crake. Crake himself had found beards irrational; also he'd been irritated by the task of shaving, so he'd abolished the need for it. Though not of course for Snowman: too late for him.

Now they all begin at once. "Oh Snowman, oh Snowman, can we have feathers too, please?"

"No," he says.

"Why not, why not?" sing the two smallest ones.

"Just a minute, I'll ask Crake." He holds his watch up to the sky, turns it around on his wrist, then puts it to his ear as if listening to it. They follow each motion, enthralled. "No," he says.

"Crake says you can't. No feathers for you. Now piss off."

"Piss off? Piss off?" They look at one another, then at him. He's made a mistake, he's said a new thing, one that's impossible to explain. Piss isn't something they'd find insulting. "What is piss off?"

"Go away!" He flaps his sheet at them and they scatter, running along the beach. They're still not sure whether to be afraid of him, or how afraid. He hasn't been known to harm a child, but his nature is not fully understood. There's no telling what he might do.

Voice
"Now I'm alone," he says out loud. "All, all alone. Alone on a wide, wide sea." One more scrap from the burning scrapbook in his head.

Revision: seashore.

He feels the need to hear a human voice - a fully human voice, like his own. Sometimes he laughs like a hyena or roars like a lion - his idea of a hyena, his idea of a lion. He used to watch old DVDs of such creatures when he was a child: those animal-behaviour programs featuring copulation and growling and innards, and mothers licking their young. Why had he found them so reassuring?

Or he grunts and squeals like a pigoon, or howls like a wolvog: Aroo! Aroo! Sometimes in the dusk he runs up and down on the sand, flinging stones at the ocean and screaming, Shit, shit, shit, shit, shit! He feels better afterwards.

He stands up and raises his arms to stretch, and his sheet falls off. He looks down at his body with dismay: the grimy, bug-bitten skin, the salt-and-pepper tufts of hair, the thickening yellow toenails. Naked as the day he was born, not that he can remember a thing about that. So many crucial events take place behind people's backs, when they aren't in a position to watch: birth and death, for instance. And the temporary oblivion of sex.

"Don't even think about it," he tells himself. Sex is like drink, it's bad to start brooding about it too early in the day.

He used to take good care of himself; he used to run, work out at the gym. Now he can see his own ribs: he's wasting away. Not enough animal protein. A woman's voice says caressingly in his ear, Nice buns! It isn't Oryx, it's some other woman. Oryx is no longer very talkative.

"Say anything," he implores her. She can hear him, he needs to believe that, but she's giving him the silent treatment. "What can I do?" he asks her. "You know I . . ."

Oh, nice abs! comes the whisper, interrupting him. Honey, just lie back. Who is it? Some tart he once bought. Revision, professional sex-skills expert. A trapeze artist, rubber spine, spangles glued onto her like the scales of a fish. He hates these echoes. Saints used to hear them, crazed lice-infested hermits in their caves and deserts. Pretty soon he'll be seeing beautiful demons, beckoning to him, licking their lips, with red-hot nipples and flickering pink tongues. Mermaids will rise from the waves, out there beyond the crumbling towers, and he'll hear their lovely singing and swim out to them and be eaten by sharks. Creatures with the heads and breasts of women and the talons of eagles will swoop down on him, and he'll open his arms to them, and that will be the end. Brainfrizz.

Or worse, some girl he knows, or knew, will come walking towards him through the trees, and she'll be happy to see him but she'll be made of air. He'd welcome even that, for the company.

He scans the horizon, using his one sunglassed eye: nothing. The sea is hot metal, the sky a bleached blue, except for the hole burnt in it by the sun. Everything is so empty. Water, sand, sky, trees, fragments of past time. Nobody to hear him.

"Crake!" he yells. "Asshole! Shit-for-brains!"

He listens. The salt water is running down his face again. He never knows when that will happen and he can never stop it. His breath is coming in gasps, as if a giant hand is clenching around his chest - clench, release, clench. Senseless panic.

"You did this!" he screams at the ocean.

No answer, which isn't surprising. Only the waves, wish-wash, wish-wash. He wipes his fist across his face, across the grime and tears and snot and the derelict's whiskers and sticky mango juice. "Snowman, Snowman," he says. "Get a life."

From the Hardcover edition.

1

Mango
Snowman wakes before dawn. He lies unmoving, listening to the tide coming in, wave after wave sloshing over the various barricades, wish-wash, wish-wash, the rhythm of heartbeat. He would so like to believe he is still asleep.

On the eastern horizon there's a greyish haze, lit now with a rosy, deadly glow. Strange how that colour still seems tender. The offshore towers stand out in dark silhouette against it, rising improbably out of the pink and pale blue of the lagoon. The shrieks of the birds that nest out there and the distant ocean grinding against the ersatz reefs of rusted car parts and jumbled bricks and assorted rubble sound almost like holiday traffic.

Out of habit he looks at his watch - stainless-steel case, burnished aluminum band, still shiny although it no longer works. He wears it now as his only talisman. A blank face is what it shows him: zero hour. It causes a jolt of terror to run through him, this absence of official time. Nobody nowhere knows what time it is.

"Calm down," he tells himself. He takes a few deep breaths, then scratches his bug bites, around but not on the itchiest places, taking care not to knock off any scabs: blood poisoning is the last thing he needs. Then he scans the ground below for wildlife: all quiet, no scales and tails. Left hand, right foot, right hand, left foot, he makes his way down from the tree. After brushing off the twigs and bark, he winds his dirty bedsheet around himself like a toga. He's hung his authentic-replica Red Sox baseball cap on a branch overnight for safekeeping; he checks inside it, flicks out a spider, puts it on.

He walks a couple of yards to the left, pisses into the bushes. "Heads up," he says to the grasshoppers that whir away at the impact. Then he goes to the other side of the tree, well away from his customary urinal, and rummages around in the cache he's improvised from a few slabs of concrete, lining it with wire mesh to keep out the rats and mice. He's stashed some mangoes there, knotted in a plastic bag, and a can of Sveltana No-Meat Cocktail Sausages, and a precious half-bottle of Scotch - no, more like a third - and a chocolate-flavoured energy bar scrounged from a trailer park, limp and sticky inside its foil. He can't bring himself to eat it yet: it might be the last one he'll ever find. He keeps a can opener there too, and for no particular reason an ice pick; and six empty beer bottles, for sentimental reasons and for storing fresh water. Also his sunglasses; he puts them on. One lens is missing but they're better than nothing.

He undoes the plastic bag: there's only a single mango left. Funny, he remembered more. The ants have got in, even though he tied the bag as tightly as he could. Already they're running up his arms, the black kind and the vicious little yellow kind. Surprising what a sharp sting they can give, especially the yellow ones. He rubs them away.

"It is the strict adherence to daily routine that tends towards the maintenance of good morale and the preservation of sanity," he says out loud. He has the feeling he's quoting from a book, some obsolete, ponderous directive written in aid of European colonials running plantations of one kind or another. He can't recall ever having read such a thing, but that means nothing. There are a lot of blank spaces in his stub of a brain, where memory used to be. Rubber plantations, coffee plantations, jute plantations. (What was jute?) They would have been told to wear solar topis, dress for dinner, refrain from raping the natives. It wouldn't have said raping. Refrain from fraternizing with the female inhabitants. Or, put some other way . . .

He bets they didn't refrain, though. Nine times out of ten.

"In view of the mitigating," he says. He finds himself standing with his mouth open, trying to remember the rest of the sentence. He sits down on the ground and begins to eat the mango.

Flotsam
On the white beach, ground-up coral and broken bones, a group of the children are walking. They must have been swimming, they're still wet and glistening. They should be more careful: who knows what may infest the lagoon? But they're unwary; unlike Snowman, who won't dip a toe in there even at night, when the sun can't get at him. Revision: especially at night.

He watches them with envy, or is it nostalgia? It can't be that: he never swam in the sea as a child, never ran around on a beach without any clothes on. The children scan the terrain, stoop, pick up flotsam; then they deliberate among themselves, keeping some items, discarding others; their treasures go into a torn sack. Sooner or later - he can count on it - they'll seek him out where he sits wrapped in his decaying sheet, hugging his shins and sucking on his mango, in under the shade of the trees because of the punishing sun. For the children - thick-skinned, resistant to ultraviolet - he's a creature of dimness, of the dusk.

Here they come now. "Snowman, oh Snowman," they chant in their singsong way. They never stand too close to him. Is that from respect, as he'd like to think, or because he stinks?

(He does stink, he knows that well enough. He's rank, he's gamy, he reeks like a walrus - oily, salty, fishy - not that he's ever smelled such a beast. But he's seen pictures.)

Opening up their sack, the children chorus, "Oh Snowman, what have we found?" They lift out the objects, hold them up as if offering them for sale: a hubcap, a piano key, a chunk of pale-green pop bottle smoothed by the ocean. A plastic BlyssPluss container, empty; a ChickieNobs Bucket O'Nubbins, ditto. A computer mouse, or the busted remains of one, with a long wiry tail.

Snowman feels like weeping. What can he tell them? There's no way of explaining to them what these curious items are, or were. But surely they've guessed what he'll say, because it's always the same.

"These are things from before." He keeps his voice kindly but remote. A cross between pedagogue, soothsayer, and benevolent uncle - that should be his tone.

"Will they hurt us?" Sometimes they find tins of motor oil, caustic solvents, plastic bottles of bleach. Booby traps from the past. He's considered to be an expert on potential accidents: scalding liquids, sickening fumes, poison dust. Pain of odd kinds.

"These, no," he says. "These are safe." At this they lose interest, let the sack dangle. But they don't go away: they stand, they stare. Their beachcombing is an excuse. Mostly they want to look at him, because he's so unlike them. Every so often they ask him to take off his sunglasses and put them on again: they want to see whether he has two eyes really, or three.

"Snowman, oh Snowman," they're singing, less to him than to one another. To them his name is just two syllables. They don't know what a snowman is, they've never seen snow.

It was one of Crake's rules that no name could be chosen for which a physical equivalent - even stuffed, even skeletal - could not be demonstrated. No unicorns, no griffins, no manticores or basilisks. But those rules no longer apply, and it's given Snowman a bitter pleasure to adopt this dubious label. The Abominable Snowman - existing and not existing, flickering at the edges of blizzards, apelike man or manlike ape, stealthy, elusive, known only through rumours and through its backward-pointing footprints. Mountain tribes were said to have chased it down and killed it when they had the chance. They were said to have boiled it, roasted it, held special feasts; all the more exciting, he supposes, for bordering on cannibalism.

For present purposes he's shortened the name. He's only Snowman. He's kept the abominable to himself, his own secret hair shirt.

After a few moments of hesitation the children squat down in a half-circle, boys and girls together. A couple of the younger ones are still munching on their breakfasts, the green juice running down their chins. It's discouraging how grubby everyone gets without mirrors. Still, they're amazingly attractive, these children - each one naked, each one perfect, each one a different skin colour - chocolate, rose, tea, butter, cream, honey - but each with green eyes. Crake's aesthetic.

They're gazing at Snowman expectantly. They must be hoping he'll talk to them, but he isn't in the mood for it today. At the very most he might let them see his sunglasses, up close, or his shiny, dysfunctional watch, or his baseball cap. They like the cap, but don't understand his need for such a thing - removable hair that isn't hair - and he hasn't yet invented a fiction for it.

They're quiet for a bit, staring, ruminating, but then the oldest one starts up. "Oh Snowman, please tell us - what is that moss growing out of your face?" The others chime in. "Please tell us, please tell us!" No nudging, no giggling: the question is serious.

"Feathers," he says.

They ask this question at least once a week. He gives the same answer. Even over such a short time - two months, three? He's lost count - they've accumulated a stock of lore, of conjecture about him: Snowman was once a bird but he's forgotten how to fly and the rest of his feathers fell out, and so he is cold and he needs a second skin, and he has to wrap himself up. No: he's cold because he eats fish, and fish are cold. No: he wraps himself up because he's missing his man thing, and he doesn't want us to see. That's why he won't go swimming. Snowman has wrinkles because he once lived underwater and it wrinkled up his skin. Snowman is sad because the others like him flew away over the sea, and now he is all alone.

"I want feathers too," says the youngest. A vain hope: no beards on the men, among the Children of Crake. Crake himself had found beards irrational; also he'd been irritated by the task of shaving, so he'd abolished the need for it. Though not of course for Snowman: too late for him.

Now they all begin at once. "Oh Snowman, oh Snowman, can we have feathers too, please?"

"No," he says.

"Why not, why not?" sing the two smallest ones.

"Just a minute, I'll ask Crake." He holds his watch up to the sky, turns it around on his wrist, then puts it to his ear as if listening to it. They follow each motion, enthralled. "No," he says.

"Crake says you can't. No feathers for you. Now piss off."

"Piss off? Piss off?" They look at one another, then at him. He's made a mistake, he's said a new thing, one that's impossible to explain. Piss isn't something they'd find insulting. "What is piss off?"

"Go away!" He flaps his sheet at them and they scatter, running along the beach. They're still not sure whether to be afraid of him, or how afraid. He hasn't been known to harm a child, but his nature is not fully understood. There's no telling what he might do.

Voice
"Now I'm alone," he says out loud. "All, all alone. Alone on a wide, wide sea." One more scrap from the burning scrapbook in his head.

Revision: seashore.

He feels the need to hear a human voice - a fully human voice, like his own. Sometimes he laughs like a hyena or roars like a lion - his idea of a hyena, his idea of a lion. He used to watch old DVDs of such creatures when he was a child: those animal-behaviour programs featuring copulation and growling and innards, and mothers licking their young. Why had he found them so reassuring?

Or he grunts and squeals like a pigoon, or howls like a wolvog: Aroo! Aroo! Sometimes in the dusk he runs up and down on the sand, flinging stones at the ocean and screaming, Shit, shit, shit, shit, shit! He feels better afterwards.

He stands up and raises his arms to stretch, and his sheet falls off. He looks down at his body with dismay: the grimy, bug-bitten skin, the salt-and-pepper tufts of hair, the thickening yellow toenails. Naked as the day he was born, not that he can remember a thing about that. So many crucial events take place behind people's backs, when they aren't in a position to watch: birth and death, for instance. And the temporary oblivion of sex.

"Don't even think about it," he tells himself. Sex is like drink, it's bad to start brooding about it too early in the day.

He used to take good care of himself; he used to run, work out at the gym. Now he can see his own ribs: he's wasting away. Not enough animal protein. A woman's voice says caressingly in his ear, Nice buns! It isn't Oryx, it's some other woman. Oryx is no longer very talkative.

"Say anything," he implores her. She can hear him, he needs to believe that, but she's giving him the silent treatment. "What can I do?" he asks her. "You know I . . ."

Oh, nice abs! comes the whisper, interrupting him. Honey, just lie back. Who is it? Some tart he once bought. Revision, professional sex-skills expert. A trapeze artist, rubber spine, spangles glued onto her like the scales of a fish. He hates these echoes. Saints used to hear them, crazed lice-infested hermits in their caves and deserts. Pretty soon he'll be seeing beautiful demons, beckoning to him, licking their lips, with red-hot nipples and flickering pink tongues. Mermaids will rise from the waves, out there beyond the crumbling towers, and he'll hear their lovely singing and swim out to them and be eaten by sharks. Creatures with the heads and breasts of women and the talons of eagles will swoop down on him, and he'll open his arms to them, and that will be the end. Brainfrizz.

Or worse, some girl he knows, or knew, will come walking towards him through the trees, and she'll be happy to see him but she'll be made of air. He'd welcome even that, for the company.

He scans the horizon, using his one sunglassed eye: nothing. The sea is hot metal, the sky a bleached blue, except for the hole burnt in it by the sun. Everything is so empty. Water, sand, sky, trees, fragments of past time. Nobody to hear him.

"Crake!" he yells. "Asshole! Shit-for-brains!"

He listens. The salt water is running down his face again. He never knows when that will happen and he can never stop it. His breath is coming in gasps, as if a giant hand is clenching around his chest - clench, release, clench. Senseless panic.

"You did this!" he screams at the ocean.

No answer, which isn't surprising. Only the waves, wish-wash, wish-wash. He wipes his fist across his face, across the grime and tears and snot and the derelict's whiskers and sticky mango juice. "Snowman, Snowman," he says. "Get a life."

From the Hardcover edition.

1

Mango
Snowman wakes before dawn. He lies unmoving, listening to the tide coming in, wave after wave sloshing over the various barricades, wish-wash, wish-wash, the rhythm of heartbeat. He would so like to believe he is still asleep.

On the eastern horizon there's a greyish haze, lit now with a rosy, deadly glow. Strange how that colour still seems tender. The offshore towers stand out in dark silhouette against it, rising improbably out of the pink and pale blue of the lagoon. The shrieks of the birds that nest out there and the distant ocean grinding against the ersatz reefs of rusted car parts and jumbled bricks and assorted rubble sound almost like holiday traffic.

Out of habit he looks at his watch - stainless-steel case, burnished aluminum band, still shiny although it no longer works. He wears it now as his only talisman. A blank face is what it shows him: zero hour. It causes a jolt of terror to run through him, this absence of official time. Nobody nowhere knows what time it is.

"Calm down," he tells himself. He takes a few deep breaths, then scratches his bug bites, around but not on the itchiest places, taking care not to knock off any scabs: blood poisoning is the last thing he needs. Then he scans the ground below for wildlife: all quiet, no scales and tails. Left hand, right foot, right hand, left foot, he makes his way down from the tree. After brushing off the twigs and bark, he winds his dirty bedsheet around himself like a toga. He's hung his authentic-replica Red Sox baseball cap on a branch overnight for safekeeping; he checks inside it, flicks out a spider, puts it on.

He walks a couple of yards to the left, pisses into the bushes. "Heads up," he says to the grasshoppers that whir away at the impact. Then he goes to the other side of the tree, well away from his customary urinal, and rummages around in the cache he's improvised from a few slabs of concrete, lining it with wire mesh to keep out the rats and mice. He's stashed some mangoes there, knotted in a plastic bag, and a can of Sveltana No-Meat Cocktail Sausages, and a precious half-bottle of Scotch - no, more like a third - and a chocolate-flavoured energy bar scrounged from a trailer park, limp and sticky inside its foil. He can't bring himself to eat it yet: it might be the last one he'll ever find. He keeps a can opener there too, and for no particular reason an ice pick; and six empty beer bottles, for sentimental reasons and for storing fresh water. Also his sunglasses; he puts them on. One lens is missing but they're better than nothing.

He undoes the plastic bag: there's only a single mango left. Funny, he remembered more. The ants have got in, even though he tied the bag as tightly as he could. Already they're running up his arms, the black kind and the vicious little yellow kind. Surprising what a sharp sting they can give, especially the yellow ones. He rubs them away.

"It is the strict adherence to daily routine that tends towards the maintenance of good morale and the preservation of sanity," he says out loud. He has the feeling he's quoting from a book, some obsolete, ponderous directive written in aid of European colonials running plantations of one kind or another. He can't recall ever having read such a thing, but that means nothing. There are a lot of blank spaces in his stub of a brain, where memory used to be. Rubber plantations, coffee plantations, jute plantations. (What was jute?) They would have been told to wear solar topis, dress for dinner, refrain from raping the natives. It wouldn't have said raping. Refrain from fraternizing with the female inhabitants. Or, put some other way . . .

He bets they didn't refrain, though. Nine times out of ten.

"In view of the mitigating," he says. He finds himself standing with his mouth open, trying to remember the rest of the sentence. He sits down on the ground and begins to eat the mango.

Flotsam
On the white beach, ground-up coral and broken bones, a group of the children are walking. They must have been swimming, they're still wet and glistening. They should be more careful: who knows what may infest the lagoon? But they're unwary; unlike Snowman, who won't dip a toe in there even at night, when the sun can't get at him. Revision: especially at night.

He watches them with envy, or is it nostalgia? It can't be that: he never swam in the sea as a child, never ran around on a beach without any clothes on. The children scan the terrain, stoop, pick up flotsam; then they deliberate among themselves, keeping some items, discarding others; their treasures go into a torn sack. Sooner or later - he can count on it - they'll seek him out where he sits wrapped in his decaying sheet, hugging his shins and sucking on his mango, in under the shade of the trees because of the punishing sun. For the children - thick-skinned, resistant to ultraviolet - he's a creature of dimness, of the dusk.

Here they come now. "Snowman, oh Snowman," they chant in their singsong way. They never stand too close to him. Is that from respect, as he'd like to think, or because he stinks?

(He does stink, he knows that well enough. He's rank, he's gamy, he reeks like a walrus - oily, salty, fishy - not that he's ever smelled such a beast. But he's seen pictures.)

Opening up their sack, the children chorus, "Oh Snowman, what have we found?" They lift out the objects, hold them up as if offering them for sale: a hubcap, a piano key, a chunk of pale-green pop bottle smoothed by the ocean. A plastic BlyssPluss container, empty; a ChickieNobs Bucket O'Nubbins, ditto. A computer mouse, or the busted remains of one, with a long wiry tail.

Snowman feels like weeping. What can he tell them? There's no way of explaining to them what these curious items are, or were. But surely they've guessed what he'll say, because it's always the same.

"These are things from before." He keeps his voice kindly but remote. A cross between pedagogue, soothsayer, and benevolent uncle - that should be his tone.

"Will they hurt us?" Sometimes they find tins of motor oil, caustic solvents, plastic bottles of bleach. Booby traps from the past. He's considered to be an expert on potential accidents: scalding liquids, sickening fumes, poison dust. Pain of odd kinds.

"These, no," he says. "These are safe." At this they lose interest, let the sack dangle. But they don't go away: they stand, they stare. Their beachcombing is an excuse. Mostly they want to look at him, because he's so unlike them. Every so often they ask him to take off his sunglasses and put them on again: they want to see whether he has two eyes really, or three.

"Snowman, oh Snowman," they're singing, less to him than to one another. To them his name is just two syllables. They don't know what a snowman is, they've never seen snow.

It was one of Crake's rules that no name could be chosen for which a physical equivalent - even stuffed, even skeletal - could not be demonstrated. No unicorns, no griffins, no manticores or basilisks. But those rules no longer apply, and it's given Snowman a bitter pleasure to adopt this dubious label. The Abominable Snowman - existing and not existing, flickering at the edges of blizzards, apelike man or manlike ape, stealthy, elusive, known only through rumours and through its backward-pointing footprints. Mountain tribes were said to have chased it down and killed it when they had the chance. They were said to have boiled it, roasted it, held special feasts; all the more exciting, he supposes, for bordering on cannibalism.

For present purposes he's shortened the name. He's only Snowman. He's kept the abominable to himself, his own secret hair shirt.

After a few moments of hesitation the children squat down in a half-circle, boys and girls together. A couple of the younger ones are still munching on their breakfasts, the green juice running down their chins. It's discouraging how grubby everyone gets without mirrors. Still, they're amazingly attractive, these children - each one naked, each one perfect, each one a different skin colour - chocolate, rose, tea, butter, cream, honey - but each with green eyes. Crake's aesthetic.

They're gazing at Snowman expectantly. They must be hoping he'll talk to them, but he isn't in the mood for it today. At the very most he might let them see his sunglasses, up close, or his shiny, dysfunctional watch, or his baseball cap. They like the cap, but don't understand his need for such a thing - removable hair that isn't hair - and he hasn't yet invented a fiction for it.

They're quiet for a bit, staring, ruminating, but then the oldest one starts up. "Oh Snowman, please tell us - what is that moss growing out of your face?" The others chime in. "Please tell us, please tell us!" No nudging, no giggling: the question is serious.

"Feathers," he says.

They ask this question at least once a week. He gives the same answer. Even over such a short time - two months, three? He's lost count - they've accumulated a stock of lore, of conjecture about him: Snowman was once a bird but he's forgotten how to fly and the rest of his feathers fell out, and so he is cold and he needs a second skin, and he has to wrap himself up. No: he's cold because he eats fish, and fish are cold. No: he wraps himself up because he's missing his man thing, and he doesn't want us to see. That's why he won't go swimming. Snowman has wrinkles because he once lived underwater and it wrinkled up his skin. Snowman is sad because the others like him flew away over the sea, and now he is all alone.

"I want feathers too," says the youngest. A vain hope: no beards on the men, among the Children of Crake. Crake himself had found beards irrational; also he'd been irritated by the task of shaving, so he'd abolished the need for it. Though not of course for Snowman: too late for him.

Now they all begin at once. "Oh Snowman, oh Snowman, can we have feathers too, please?"

"No," he says.

"Why not, why not?" sing the two smallest ones.

"Just a minute, I'll ask Crake." He holds his watch up to the sky, turns it around on his wrist, then puts it to his ear as if listening to it. They follow each motion, enthralled. "No," he says.

"Crake says you can't. No feathers for you. Now piss off."

"Piss off? Piss off?" They look at one another, then at him. He's made a mistake, he's said a new thing, one that's impossible to explain. Piss isn't something they'd find insulting. "What is piss off?"

"Go away!" He flaps his sheet at them and they scatter, running along the beach. They're still not sure whether to be afraid of him, or how afraid. He hasn't been known to harm a child, but his nature is not fully understood. There's no telling what he might do.

Voice
"Now I'm alone," he says out loud. "All, all alone. Alone on a wide, wide sea." One more scrap from the burning scrapbook in his head.

Revision: seashore.

He feels the need to hear a human voice - a fully human voice, like his own. Sometimes he laughs like a hyena or roars like a lion - his idea of a hyena, his idea of a lion. He used to watch old DVDs of such creatures when he was a child: those animal-behaviour programs featuring copulation and growling and innards, and mothers licking their young. Why had he found them so reassuring?

Or he grunts and squeals like a pigoon, or howls like a wolvog: Aroo! Aroo! Sometimes in the dusk he runs up and down on the sand, flinging stones at the ocean and screaming, Shit, shit, shit, shit, shit! He feels better afterwards.

He stands up and raises his arms to stretch, and his sheet falls off. He looks down at his body with dismay: the grimy, bug-bitten skin, the salt-and-pepper tufts of hair, the thickening yellow toenails. Naked as the day he was born, not that he can remember a thing about that. So many crucial events take place behind people's backs, when they aren't in a position to watch: birth and death, for instance. And the temporary oblivion of sex.

"Don't even think about it," he tells himself. Sex is like drink, it's bad to start brooding about it too early in the day.

He used to take good care of himself; he used to run, work out at the gym. Now he can see his own ribs: he's wasting away. Not enough animal protein. A woman's voice says caressingly in his ear, Nice buns! It isn't Oryx, it's some other woman. Oryx is no longer very talkative.

"Say anything," he implores her. She can hear him, he needs to believe that, but she's giving him the silent treatment. "What can I do?" he asks her. "You know I . . ."

Oh, nice abs! comes the whisper, interrupting him. Honey, just lie back. Who is it? Some tart he once bought. Revision, professional sex-skills expert. A trapeze artist, rubber spine, spangles glued onto her like the scales of a fish. He hates these echoes. Saints used to hear them, crazed lice-infested hermits in their caves and deserts. Pretty soon he'll be seeing beautiful demons, beckoning to him, licking their lips, with red-hot nipples and flickering pink tongues. Mermaids will rise from the waves, out there beyond the crumbling towers, and he'll hear their lovely singing and swim out to them and be eaten by sharks. Creatures with the heads and breasts of women and the talons of eagles will swoop down on him, and he'll open his arms to them, and that will be the end. Brainfrizz.

Or worse, some girl he knows, or knew, will come walking towards him through the trees, and she'll be happy to see him but she'll be made of air. He'd welcome even that, for the company.

He scans the horizon, using his one sunglassed eye: nothing. The sea is hot metal, the sky a bleached blue, except for the hole burnt in it by the sun. Everything is so empty. Water, sand, sky, trees, fragments of past time. Nobody to hear him.

"Crake!" he yells. "Asshole! Shit-for-brains!"

He listens. The salt water is running down his face again. He never knows when that will happen and he can never stop it. His breath is coming in gasps, as if a giant hand is clenching around his chest - clench, release, clench. Senseless panic.

"You did this!" he screams at the ocean.

No answer, which isn't surprising. Only the waves, wish-wash, wish-wash. He wipes his fist across his face, across the grime and tears and snot and the derelict's whiskers and sticky mango juice. "Snowman, Snowman," he says. "Get a life."

ALPHINLAND
The freezing rain sifts down, handfuls of shining rice thrown by some unseen celebrant. Wherever it hits, it crystallizes into a granulated coating of ice. Under the streetlights it looks so beautiful: like fairy silver, thinks Constance. But then, she would think that; she’s far too prone to enchantment. The beauty is an illusion, and also a warning: there’s a dark side to beauty, as with poisonous butterflies. She ought to be considering the dangers, the hazards, the grief this ice storm is going to bring to many; is already bringing, according to the television news.

The tv screen is a flat high-definition one that Ewan bought so he could watch hockey and football games on it. Constance would rather have the old fuzzy one back, with its strangely orange people and its habit of rippling and fading: there are some things that do not fare well in high definition. She resents the pores, the wrinkles, the nose hairs, the impossibly whitened teeth shoved right up in front of your eyes so you can’t ignore them the way you would in real life. It’s like being forced to act as someone else’s bathroom mirror, the magnifying kind: seldom a happy experience, those mirrors.

Luckily, on the weather show the personnel stand well back. They have their maps to attend to, their broad hand gestures, like those of waiters in glamorous films of the ’30s or magicians about to reveal the floating lady. Behold! Gigantic swaths of whiteness plume across the continent! Just look at the extent of it!

Now the show moves outside. Two young commentators--a boy, a girl, both of them wearing stylish black parkas with halos of pale fur around their faces--hunch under dripping umbrellas as cars grind slowly past them, windshield wipers labouring. They’re excited; they say they’ve never seen anything like it. Of course they haven’t, they’re too young. Next there are shots of calamities: a multiple car-crash pileup, a fallen tree that’s bashed off part of a house, a snarl of electrical wires dragged down by the weight of the ice and flickering balefully, a row of sleet-covered planes stranded in an airport, a huge truck that’s jackknifed and tipped over and is lying on its side with smoke coming out. An ambulance is on the scene, a fire truck, a huddle of raingear-clad operatives: someone’s been injured, always a sight to make the heart beat faster. A policeman appears, crystals of ice whitening his moustache; he pleads sternly with people to stay inside. It’s no joke, he tells the viewers. Don’t think you can brave the elements! His frowning, frosted eyebrows are noble, like those on the wartime bond-drive posters from the 1940s. Constance remembers those, or believes she does. But she may just be remembering history books or museum displays or documentary films: so hard, sometimes, to tag those memories accurately.

Finally, a minor touch of pathos: a stray dog is displayed, semi-frozen, wrapped in a child’s pink nap blanket. A gelid baby would have been better, but for lack of one the dog will do. The two young commentators make Aw cute faces; the girl pats the dog, which wags its sodden tail feebly. “Lucky guy,” says the boy. This could be you, it’s implied, if you don’t behave yourself, only you wouldn’t get rescued. The boy turns to the camera and solemnifies his face, even though it’s clear he’s having the time of his life. There’s more to come, he says, because the main part of the storm hasn’t even hit! It’s worse in Chicago, as it so often is. Stay tuned!

Constance turns off the tv. She crosses the room, dims the lamp, then sits beside the front window, staring out into the streetlight-illuminated darkness, watching the world turn to diamonds--branches, rooftops, hydro lines, all glittering and sparkling.

“Alphinland,” she says out loud.

“You’ll need salt,” says Ewan, right in her ear. The first time he spoke to her it startled and even alarmed her--Ewan having been no longer in a tangibly living condition for at least four days--but now she’s more relaxed about him, unpredictable though he is. It’s wonderful to hear his voice, even if she can’t depend on having any sort of a conversation with him. His interventions tend to be one-sided: if she answers him, he doesn’t often answer back. But it was always more or less like that between them.

She hadn’t known what to do with his clothes, afterwards. At first she left them hanging in the closet, but it was too upsetting to open the door and see the jackets and suits ranged on their hangers, waiting mutely for Ewan’s body to be slipped inside them so they could be taken for a walk. The tweeds, the woollen sweaters, the plaid work shirts?.?.?.?She couldn’t give them away to the poor, which would have been the sensible thing. She couldn’t throw them out: that would have been not only wasteful but too abrupt, like ripping off a bandage. So she’d folded them up and stored them away in a trunk on the third floor, with mothballs.

That’s fine in the daytimes. Ewan doesn’t seem to mind, and his voice, when it turns up, is firm and cheerful. A striding voice, showing the way. An extended index-finger voice, pointing. Go here, buy this, do that! A slightly mocking voice, teasing, making light: that was often his manner towards her before he became ill.

At night, however, things get more complex. There have been bad dreams: sobbing from inside the trunk, mournful complaints, pleas to be let out. Strange men appearing at the front door who hold out promises of being Ewan, but who are not. Instead they’re menacing, with black trench coats. They demand some garbled thing that Constance can’t make out, or, worse, they insist on seeing Ewan, shouldering their way past her, their intentions clearly murderous. “Ewan’s not home,” she’ll plead, despite the muted cries for help coming from the trunk on the third floor. As they begin to tromple up the stairs, she wakes up.

She’s considered sleeping pills, though she knows they’re addictive and lead to insomnia. Maybe she ought to sell the house and move to a condo. That notion was being pushed at the time of the funeral by the boys, who are not boys any more and who live in cities in New Zealand and France, too conveniently far for them to visit her much. They’d been backed up in spades by their brisk but tactful and professionally accomplished wives, the plastic surgeon and the chartered accountant, so it was four against one. But Constance stood firm. She can’t abandon the house, because Ewan is in it. Though she’d been smart enough not to tell them about that. They’ve always thought she was slightly borderline anyway because of Alphinland, though once such an enterprise makes a lot of money the whiff of nuttiness around it tends to evaporate.

Condo is a euphemism for retirement home. Constance doesn’t hold it against them: they want what is best for her, not merely what is simplest for them, and they were understandably perturbed by the disorder they’d witnessed, both in Constance--though they’d made allowances because she was in the throes of mourning--and in, just for example, her refrigerator. There were items in that refrigerator for which there was no sane explanation. What a swamp, she could hear them thinking. Awash in botulism, a wonder she hasn’t made herself seriously ill. But of course she hadn’t, because she wasn’t eating much in those final days. Soda crackers, cheese slices, peanut butter straight from the jar.

The wives had dealt with the situation in the kindest way. “Do you want this? What about this?” “No, no,” Constance had wailed. “I don’t want any of it! Throw it all out!” The three little grandchildren, two girls and a boy, had been sent on a sort of Easter egg hunt, searching for the half-drunk cups of tea and cocoa that Constance had left here and there around the house and that were now covered with grey or pale-green skins in various stages of growth. “Look, Maman! I found another one!” “Ew, that’s gross!” “Where is Grandpa?”

A retirement home would provide company for her, at least. And it would take away the burden from her, the responsibility, because a house like hers needs upkeep, it needs attention, and why should she be saddled with all those chores any more? That was the idea set forth in some detail by the daughters-in-law. Constance could take up bridge-playing, or Scrabble, they suggested. Or backgammon, said to be popular again. Nothing too stressful or exciting to the brain. Some mild communal game.

“Not yet,” says Ewan’s voice. “You don’t need to do that yet.”

Constance knows this voice isn’t real. She knows Ewan is dead. Of course she knows that! Other people--other recently bereaved people--have had the same experience, or close. Aural hallucination, it’s called. She’s read about it. It’s normal. She isn’t crazy.

“You’re not crazy,” Ewan says comfortingly. He can be so tender when he thinks she’s having some anguish.

He’s right about the salt. She ought to have stocked up on some form of ice melt earlier in the week but she forgot, and now if she doesn’t get some, she’ll be a prisoner inside her own house because the street will be a skating rink by tomorrow. What if the layer of ice doesn’t melt for days and days? She could run out of food. She could become one of those statistics--old recluse, hypothermia, starvation--because, as Ewan has pointed out before now, she can’t live on air.

She’ll have to venture out. Even one bag of salt mix will be enough to do the steps and the walk and keep other people from killing themselves, much less herself. The corner store is her best bet: it’s only two blocks away. She’ll have to take her two-wheeled shopping bag, which is red and also waterproof, because the salt will be heavy. It was only Ewan who drove their car; her own licence lapsed decades ago because once she got so deeply involved in Alphinland she felt she was too distracted to drive. Alphinland requires a lot of thought. It excludes peripheral details, such as stop signs.

It must be quite slippery out there already. If she tries this escapade, she might break her neck. She stands in the kitchen, dithering. “Ewan, what should I do?” she says.

“Pull yourself together,” Ewan says firmly. Which isn’t very instructive, but which was his habitual way of responding to a question when he didn’t want to be pinned down. Where’ve you been, I was so worried, did you have an accident? Pull yourself together. Do you really love me? Pull yourself together. Are you having an affair?

After some rummaging, she finds a large zip-lock freezer bag in the kitchen, dumps out the three shrivelled, whiskery carrots inside it, and fills it with ashes from the fireplace, using the little brass fireplace shovel. She hasn’t lit a fire since Ewan ceased to be present in visible form, because it didn’t seem right. Lighting a fire is an act of renewal, of beginning, and she doesn’t want to begin, she wants to continue. No: she wants to go back.

There’s still a stack of wood and some kindling; there are still a couple of partially burnt logs in the grate from the last fire they had together. Ewan was lying on the sofa with a glass of that disgusting chocolate nutrient drink beside him; he was bald, due to the chemo and the radiation. She tucked the plaid car rug around him and sat beside him, holding his hand, with the tears running silently down her cheeks and her head turned away so he couldn’t see. He didn’t need to be distressed by her distress.

“This is nice,” he’d managed to say. It was hard for him to talk: his voice was so thin, like the rest of him. But that isn’t the voice he has now. The voice he has now is back to normal: it’s his voice of twenty years ago, deep and resonant, especially when he laughs.

She puts on her coat and boots, finds her mittens and one of her woolly hats. Money, she’ll need some of that. House keys: it would be stupid to lock herself out and be turned into a frozen lump right on her own doorstep. When she’s at the front door with the wheeled shopping bag, Ewan says to her, “Take the flashlight,” so she trudges upstairs to the bedroom in her boots. The flashlight is on the nightstand on his side of the bed; she adds it to her purse. Ewan is so good at planning ahead. She herself never would have thought of a flashlight.

The front porch steps are sheer ice already. She sprinkles ashes on them from the zip-lock, then stuffs the bag into her pocket and proceeds down crabwise, one step at a time, holding on to the railing and hauling the wheeled shopper behind her with the other hand, bump bump bump. Once on the sidewalk, she opens the umbrella, but that’s not going to work--she can’t manage those two objects at once--so she closes it again. She’ll use it as a cane. She inches out onto the street--it’s not as icy as the sidewalk--and teeters along the middle of it, balancing herself with the umbrella. There aren’t any cars, so at least she won’t get run over.

On the especially sheer parts of the road she sprinkles more of the ashes, leaving a faint black trail. Perhaps she’ll be able to follow it home, if push comes to shove. It’s the kind of thing that might occur in Alphinland--a trail of black ashes, mysterious, alluring, like glowing white stones in a forest, or bread crumbs--only there would be something extra about those ashes. Something you’d need to know about them, some verse or phrase to pronounce in order to keep their no doubt malevolent power at bay. Nothing about dust to dust, however; nothing involving last rites. More like a sort of runic charm.

“Ashes, bashes, crashes, dashes, gnashes, mashes, splashes,” she says out loud as she picks her way over the ice. Quite a few words rhyme with ashes. She’ll have to incorporate the ashes into the storyline, or one of the storylines: Alphinland is multiple in that respect. Milzreth of the Red Hand is the most likely provenance for those spellbinding ashes, being a warped and devious bully. He likes to delude travellers with mind-altering visions, lure them off the true path, lock them into iron cages or shackle them to the wall with gold chains, then pester them, using Hairy Hank-Imps and Cyanoreens and Firepiggles and whatnot. He likes to watch as their clothing--their silken robes, their embroidered vestments, their fur-lined capes, their shining veils--are ripped to shreds, and they plead and writhe attractively. She can work on the intricacies of all that when she gets back to the house.

Milzreth has the face of a former boss of hers when she worked as a waitress. He was a rump-slapper. She wonders if he ever read the series.

Now she’s reached the end of the first block. This outing was maybe not such a good idea: her face is streaming wet, her hands are freezing, and meltwater is dribbling down her neck. But she’s underway now, she needs to see it through. She breathes in the cold air; pellets of blown ice whip against her face. The wind’s getting up, as the tv said it would. Nonetheless there’s something brisk about being out in the storm, something energizing: it whisks away the cobwebs, it makes you inhale.

The corner store is open 24/7, a fact that she and Ewan have appreciated ever since they moved to this area twenty years ago. There are no sacks of ice melt stacked outside where they usually are, however. She goes inside, trundling her two-wheeled shopping bag.

“Is there any salt left?” she asks the woman behind the counter. It’s someone new. Constance has never seen her before; there’s a high turnover here. Ewan used to say the place had to be a money-laundering joint because they couldn’t possibly be making a profit, considering the low traffic and the state of their lettuces.

“No, dear,” the woman says. “There was a run on it earlier. Be prepared, I guess is what they had in mind.” The implication is that Constance has failed to be prepared, which in fact is true. It’s a lifelong failing: she has never been prepared. But how can you have a sense of wonder if you’re prepared for everything? Prepared for the sunset. Prepared for the moonrise. Prepared for the ice storm. What a flat existence that would be.

“Oh,” says Constance. “No salt. Bad luck for me.”

“You shouldn’t be out in this, dear,” the woman says. “It’s treacherous!” Although she has dyed red hair shaved up the back of her neck in an edgy style, she’s only about ten years younger than Constance by the look of her, and quite a lot fatter. At least I don’t wheeze, thinks Constance. Still, she likes being called dear. She was called that when very much younger, then not called it for a long time. Now it’s a word she hears frequently.

“It’s all right,” she says. “I only live a couple of blocks away.”

“Couple of blocks is a long way to go in this weather,” says the woman, who despite her age has a tattoo peeking up above her collar. It looks like a dragon, or a version of one. Spikes, horns, bulgy eyes. “You could freeze your ass off.”

Constance agrees with her, and asks if she can park her shopping bag and umbrella beside the counter. Then she wanders up and down the aisles, pushing a wire store cart. There are no other customers, though in one aisle she encounters a weedy young man transferring cans of tomato juice to a shelf. She picks up one of the barbecued chickens that revolve on spits inside a glass case, day in and day out like a vision from the Inferno, and a package of frozen peas.

“Kitty litter,” says Ewan’s voice. Is this a comment on her purchases? He disapproved of those chickens – he said they were probably full of chemicals – though he’d eat one readily enough if she brought it home, back in his eating days.

“What do you mean?” she says. “We don’t have a cat any more.” She’s discovered that she has to talk out loud to Ewan because most of the time he can’t read her mind. Though sometimes he can. His powers are intermittent.

Ewan doesn’t expand – he’s such a tease, he often makes her figure out the answers by herself – and then it comes to her: the kitty litter is for the front steps, instead of salt. It won’t work as well, it won’t melt anything, but at least it will provide some traction. She wrestles a bag of the stuff into the cart and adds two candles and a box of wooden matches. There. She’s prepared.

Back at the counter she exchanges pleasantries with the woman about the excellence of the chicken – it’s an item
the woman likes herself, because who can be bothered with cooking when there’s only one, or even only two – and stows her purchases in her wheeled shopper, resisting the temptation to get into a conversation about the dragon tattoo. This topic might swiftly veer into complexities, as she’s learned from experience over the years. There are dragons in Alphinland, and they have numerous fans with many bright ideas they are eager to share with Constance. How she ought to have done the dragons differently. How they would do the dragons if it was them. Subspecies of dragons. Errors she has made about the care and feeding of dragons, and so on. It’s astonishing how folks can get
so worked up over something that doesn’t exist.

Has the woman overheard her talking to Ewan? Most likely, and most likely it didn’t bother her. Any store that’s open 24/7 must get its share of people who talk to invisible companions. In Alphinland, such behaviour would call for a different interpretation: some of its inhabitants have spirit familiars.

“Where exactly do you live, dear?” the woman calls after her when Constance is halfway out the door. “I could text a friend, get you a walk home.” What sort of friend? Maybe she’s a biker’s girl, thinks Constance. Maybe she’s younger than Constance thought; maybe she’s just very weathered.

Constance pretends she didn’t hear. It could be a ruse, and next thing you know there will be a gang member bent on home invasion standing outside the door with the duct tape ready in his pocket. They say their car has broken down and can they use your phone, and out of the goodness of your heart you let them in, and before you know it you’re duct-taped to the banister and they’re inserting push-pins under your fingernails to make you cough up your passwords. Constance is well informed about that sort of thing: she doesn’t watch the television news for nothing.

The trail of ashes is no use any more – it’s iced over, she can’t even see it – and the wind is stronger. Should she open the kitty litter bag right here in mid-journey? No, she’ll need a knife, or some scissors; although there’s usually a pull string. She peers inside the shopper with the flashlight, but the battery must be low because it’s too dim in there to see. She could get chilled to the bone struggling with such a bag; better to make a dash for it. Though dash is hardly the word.
 
 
 
The ice seems twice as thick as when she started out. The bushes in the front lawn look like fountains, their luminous foliage cascading gracefully to the ground. Here and there a broken tree branch partially blocks the road. Once she’s reached her house, Constance leaves the shopper outside on the walk and hauls herself up the slippery steps by clinging to the railing. Happily the porch light is shining, though she can’t remember turning it on. She wrestles with the key and the lock, opens the door, and tramps through to the kitchen, shedding water. Then, kitchen scissors in hand, she retraces her route, descends the steps to the red shopper, cuts open the kitty litter bag, and spreads lavishly.

There. Wheeled shopper up the steps, bump bump bump, and into the house. Door locked behind her. Drenched coat off, soaking wet hat and mitts set to steam on the radiator, boots parked in the hall. “Mission accomplished,” she says in case Ewan is listening. She wants him to know she got back safely; he might worry otherwise. They’d always left notes for each other, or else messages on the answering machine, back before all the digital gadgets. In her more extreme and lonely moments she’s thought of leaving messages on the phone service for Ewan. Maybe he could listen to them through electric particles or magnetic fields, or whatever it is he’s using to throw his voice through the airwaves.

But this isn’t a lonely moment. It’s a better moment: she’s feeling pleased with herself for carrying out the salt mission. She’s hungry too. She hasn’t been this hungry ever since Ewan has failed to be present at meals: eating alone has been too dispiriting. Now, however, she tears off pieces of the broiled chicken with her fingers and wolfs them down. This is what people do in Alphinland when they’ve been rescued from something – dungeons, moors, iron cages, drifting boats: they eat with their hands. Only the very upper classes have what you’d call cutlery, though just about everyone has a knife, unless they happen to be a talking animal. She licks her fingers, wipes them on the dishtowel. There ought to be paper towels but there aren’t.

There’s still some milk, so she gulps it down right out of the carton, spilling hardly any. She’ll make herself a hot drink later. She’s in a hurry to get back to Alphinland because of the trail of ashes. She wants to decipher it, she wants to unravel it, she wants to follow it. She wants to see where it will lead.
 
 
 
Alphinland currently lives on her computer. For many years it unfolded in the attic, which she’d converted to a workspace of sorts for herself once Alphinland had made enough money to pay for the renovation. But even with the new floor and the window they’d punched through, and the air conditioning and the ceiling fan, the attic was small and stuffy, as the top floors of these old brick Victorians are. So after a while – after the boys were in high school – Alphinland had migrated to the kitchen table, where it unscrolled for several years on an electric typewriter – once considered the height of innovation, now obsolete. The computer was its next location, and not without its hazards – things could diappear from it in an infuriating manner – but they’ve improved the computers over time and she’s become used to hers now. She moved it into Ewan’s study after he was no longer in there in visible form.

She doesn’t say “after his death,” even to herself. She doesn’t use the D-word about him at all. He might overhear it and be hurt or offended, or perhaps confused, or even angry. It’s one of her not-fully-formulated beliefs that Ewan doesn’t realize that he’s dead.

She sits at Ewan’s desk, swathed in Ewan’s black plush bathrobe. Black plush bathrobes for men were cutting edge,
when? The ’90s? She’d bought this bathrobe herself, as a Christmas present. Ewan always resisted her attempts to make him cutting edge, not that those attempts had lasted much beyond the bathrobe; she’d run out of interest in how he looked to others.

She wears this bathrobe not for heat but for comfort: it makes her feel that Ewan might still be in the house physically, just around the corner. She hasn’t washed it since he died; she doesn’t want it to smell of laundry detergent instead of Ewan.
Oh Ewan, she thinks. We had such good times! All gone now. Why so fast? She wipes her eyes on the black plush sleeve.

“Pull yourself together,” says Ewan. He never likes it when she sniffles.

“Right,” she says. She squares her shoulders, adjusts the cushion on Ewan’s ergonomic desk chair, turns the computer on.

THE BRIDGE

Ten days after the war ended, my sister Laura drove a car off a bridge. The bridge was being repaired: she went right through the Danger sign. The car fell a hundred feet into the ravine, smashing through the treetops feathery with new leaves, then burst into flames and rolled down into the shallow creek at the bottom. Chunks of the bridge fell on top of it. Nothing much was left of her but charred smithereens.

I was informed of the accident by a policeman: the car was mine, and they’d traced the licence. His tone was respectful: no doubt he recognized Richard’s name. He said the tires may have caught on a streetcar track or the brakes may have failed, but he also felt bound to inform me that two witnesses – a retired lawyer and a bank teller, dependable people – had claimed to have seen the whole thing. They’d said Laura had turned the car sharply and deliberately, and had plunged off the bridge with no more fuss than stepping off a curb. They’d noticed her hands on the wheel because of the white gloves she’d been wearing.

It wasn’t the brakes, I thought. She had her reasons. Not that they were ever the same as anybody else's reasons. She was completely ruthless in that way.

“I suppose you want someone to identify her,” I said. “I’ll come down as soon as I can.” I could hear the calmness of my own voice, as if from a distance. In reality I could barely get the words out; my mouth was numb, my entire face was rigid with pain. I felt as if I’d been to the dentist. I was furious with Laura for what she’d done, but also with the policeman for implying that she’d done it. A hot wind was blowing around my head, the strands of my hair lifting and swirling in it, like ink spilled in water.

“I’m afraid there will be an inquest, Mrs. Griffen,” he said.

“Naturally,” I said. “But it was an accident. My sister was never a good driver.”

I could picture the smooth oval of Laura’s face, her neatly pinned chignon, the dress she would have been wearing: a shirtwaist with a small rounded collar, in a sober colour – navy blue or steel grey or hospital-corridor green. Penitential colours – less like something she’d chosen to put on than like something she’d been locked up in. Her solemn half-smile; the amazed lift of her eyebrows, as if she were admiring the view.

The white gloves: a Pontius Pilate gesture. She was washing her hands of me. Of all of us.

What had she been thinking of as the car sailed off the bridge, then hung suspended in the afternoon sunlight, glinting like a dragonfly for that one instant of held breath before the plummet? Of Alex, of Richard, of bad faith, of our father and his wreckage; of God, perhaps, and her fatal, triangular bargain. Or of the stack of cheap school exercise books that she must have hidden that very morning, in the bureau drawer where I kept my stockings, knowing I would be the one to find them.

When the policeman had gone I went upstairs to change. To visit the morgue I would need gloves, and a hat with a veil. Something to cover the eyes. There might be reporters. I would have to call a taxi. Also I ought to warn Richard, at his office: he would wish to have a statement of grief prepared. I went into my dressing room: I would need black, and a handkerchief.

I opened the drawer, I saw the notebooks. I undid the crisscross of kitchen string that tied them together. I noticed that my teeth were chattering, and that I was cold all over. I must be in shock, I decided.

What I remembered then was Reenie, from when we were little. It was Reenie who’d done the bandaging, of scrapes and cuts and minor injuries: Mother might be resting, or doing good deeds elsewhere, but Reenie was always there. She’d scoop us up and sit us on the white enamel kitchen table, alongside the pie dough she was rolling out or the chicken she was cutting up or the fish she was gutting, and give us a lump of brown sugar to get us to close our mouths. Tell me where it hurts, she’d say. Stop howling. Just calm down and show me where.

But some people can’t tell where it hurts. They can’t calm down. They can’t ever stop howling.

From the Hardcover edition.

The Bridge

Ten days after the war ended, my sister Laura drove a car off a bridge. The bridge was being repaired: she went right through the Danger sign. The car fell a hundred feet into the ravine, smashing through the treetops feathery with new leaves, then burst into flames and rolled down into the shallow creek at the bottom. Chunks of the bridge fell on top of it. Nothing much was left of her but charred smithereens.

I was informed of the accident by a policeman: the car was mine, and they'd traced the licence. His tone was respectful: no doubt he recognized Richard's name. He said the tires may have caught on a streetcar track or the brakes may have failed, but he also felt bound to inform me that two witnesses—a retired lawyer and a bank teller, dependable people—had claimed to have seen the whole thing. They'd said Laura had turned the car sharply and deliberately, and had plunged off the bridge with no more fuss than stepping off a curb. They'd noticed her hands on the wheel because of the white gloves she'd been wearing.

It wasn't the brakes, I thought. She had her reasons. Not that they were ever the same as anybody else's reasons. She was completely ruthless in that way.

"I suppose you want someone to identify her," I said. "I'll come down as soon as I can." I could hear the calmness of my own voice, as if from a distance. In reality I could barely get the words out; my mouth was numb, my entire face was rigid with pain. I felt as if I'd been to the dentist. I was furious with Laura for what she'd done, but also with the policeman for implying that she'd done it. A hot wind was blowing around my head, the strands of my hair lifting and swirling in it, like ink spilled in water.

"I'm afraid there will be an inquest, Mrs. Griffen," he said.

"Naturally," I said. "But it was an accident. My sister was never a good driver."

I could picture the smooth oval of Laura's face, her neatly pinned chignon, the dress she would have been wearing: a shirtwaist with a small rounded collar, in a sober colour-navy blue or steel grey or hospital-corridor green. Penitential colours—less like something she'd chosen to put on than like something she'd been locked up in. Her solemn half-smile; the amazed lift of her eyebrows, as if she were admiring the view.

The white gloves: a Pontius Pilate gesture. She was washing her hands of me. Of all of us. What had she been thinking of as the car sailed off the bridge, then hung suspended in the afternoon sunlight, glinting like a dragonfly for that one instant of held breath before the plummet? Of Alex, of Richard, of bad faith, of our father and his wreckage; of God, perhaps, and her fatal, triangular bargain. Or of the stack of cheap school exercise books that she must have hidden that very morning, in the bureau drawer where I kept my stockings, knowing I would be the one to find them.

When the policeman had gone I went upstairs to change. To visit the morgue I would need gloves, and a hat with a veil. Something to cover the eyes. There might be reporters. I would have to call a taxi. Also I ought to warn Richard, at his office: he would wish to have a statement of grief prepared. I went into my dressing room: I would need black, and a handkerchief.

I opened the drawer, I saw the notebooks. I undid the crisscross of kitchen string that tied them together. I noticed that my teeth were chattering, and that I was cold all over. I must be in shock, I decided.

What I remembered then was Reenie, from when we were little. It was Reenie who'd done the bandaging, of scrapes and cuts and minor injuries: Mother might be resting, or doing good deeds elsewhere, but Reenie was always there. She'd scoop us up and sit us on the white enamel kitchen table, alongside the pie dough she was rolling out or the chicken she was cutting up or the fish she was gutting, and give us a lump of brown sugar to get us to close our mouths. Tell me where it hurts, she'd say. Stop howling. Just calm down and show me where.

But some people can't tell where it hurts. They can't calm down. They can't ever stop howling.

The Toronto Star, May 26, 1945

Questions Raised at the Death
Special to the Star

A coroner's inquest has returned a verdict of accidental death in last week's St. Clair Ave. fatality. Miss Laura Chase, 25, was travelling west on the afternoon of May 18 when her car swerved through the barriers protecting a repair site on the bridge and crashed into the ravine below, catching fire. Miss Chase was killed instantly. Her sister, Mrs. Richard E. Griffen, wife of the prominent manufacturer, gave evidence that Miss Chase suffered from severe headaches affecting her vision. In reply to questioning, she denied any possibility of intoxication as Miss Chase did not drink.

It was the police view that a tire caught in an exposed streetcar track was a contributing factor. Questions were raised as to the adequacy of safety precautions taken by the City, but after expert testimony by City engineer Gordon Perkins these were dismissed.

The accident has occasioned renewed protests over the state of the streetcar tracks on this stretch of roadway. Mr. Herb T. Jolliffe, representing local ratepayers, told Star reporters that this was not the worst mishap caused by neglected tracks. City Council should take note.

The Blind Assassin. By Laura Chase.
Reingold, Jaynes & Moreau, New York, 1947

Prologue: Perennials for the Rock Garden

She has a single photograph of him. She tucked it into a brown envelope on which she'd written clippings, and hid the envelope between the pages of Perennials for the Rock Garden, where no one else would ever look.

She's preserved this photo carefully, because it's almost all she has left of him. It's black and white, taken by one of those boxy, cumbersome flash cameras from before the war, with their accordion-pleat nozzles and their well-made leather cases that looked like muzzles, with straps and intricate buckles. The photo is of the two of them together, her and this man, on a picnic. Picnic is written on the back, in pencil-not his name or hers, just picnic. She knows the names, she doesn't need to write them down.

They're sitting under a tree; it might have been an apple tree; she didn't notice the tree much at the time. She's wearing a white blouse with the sleeves rolled to the elbow and a wide skirt tucked around her knees. There must have been a breeze, because of the way the shirt is blowing up against her; or perhaps it wasn't blowing, perhaps it was clinging; perhaps it was hot. It was hot. Holding her hand over the picture, she can still feel the heat coming up from it, like the heat from a sun-warmed stone at midnight.

The man is wearing a light-coloured hat, angled down on his head and partially shading his face. His face appears to be more darkly tanned than hers. She's turned half towards him, and smiling, in a way she can't remember smiling at anyone since. She seems very young in the picture, too young, though she hadn't considered herself too young at the time.

The Bridge

Ten days after the war ended, my sister Laura drove a car off a bridge. The bridge was being repaired: she went right through the Danger sign. The car fell a hundred feet into the ravine, smashing through the treetops feathery with new leaves, then burst into flames and rolled down into the shallow creek at the bottom. Chunks of the bridge fell on top of it. Nothing much was left of her but charred smithereens.

I was informed of the accident by a policeman: the car was mine, and they'd traced the licence. His tone was respectful: no doubt he recognized Richard's name. He said the tires may have caught on a streetcar track or the brakes may have failed, but he also felt bound to inform me that two witnesses—a retired lawyer and a bank teller, dependable people—had claimed to have seen the whole thing. They'd said Laura had turned the car sharply and deliberately, and had plunged off the bridge with no more fuss than stepping off a curb. They'd noticed her hands on the wheel because of the white gloves she'd been wearing.

It wasn't the brakes, I thought. She had her reasons. Not that they were ever the same as anybody else's reasons. She was completely ruthless in that way.

"I suppose you want someone to identify her," I said. "I'll come down as soon as I can." I could hear the calmness of my own voice, as if from a distance. In reality I could barely get the words out; my mouth was numb, my entire face was rigid with pain. I felt as if I'd been to the dentist. I was furious with Laura for what she'd done, but also with the policeman for implying that she'd done it. A hot wind was blowing around my head, the strands of my hair lifting and swirling in it, like ink spilled in water.

"I'm afraid there will be an inquest, Mrs. Griffen," he said.

"Naturally," I said. "But it was an accident. My sister was never a good driver."

I could picture the smooth oval of Laura's face, her neatly pinned chignon, the dress she would have been wearing: a shirtwaist with a small rounded collar, in a sober colour-navy blue or steel grey or hospital-corridor green. Penitential colours—less like something she'd chosen to put on than like something she'd been locked up in. Her solemn half-smile; the amazed lift of her eyebrows, as if she were admiring the view.

The white gloves: a Pontius Pilate gesture. She was washing her hands of me. Of all of us. What had she been thinking of as the car sailed off the bridge, then hung suspended in the afternoon sunlight, glinting like a dragonfly for that one instant of held breath before the plummet? Of Alex, of Richard, of bad faith, of our father and his wreckage; of God, perhaps, and her fatal, triangular bargain. Or of the stack of cheap school exercise books that she must have hidden that very morning, in the bureau drawer where I kept my stockings, knowing I would be the one to find them.

When the policeman had gone I went upstairs to change. To visit the morgue I would need gloves, and a hat with a veil. Something to cover the eyes. There might be reporters. I would have to call a taxi. Also I ought to warn Richard, at his office: he would wish to have a statement of grief prepared. I went into my dressing room: I would need black, and a handkerchief.

I opened the drawer, I saw the notebooks. I undid the crisscross of kitchen string that tied them together. I noticed that my teeth were chattering, and that I was cold all over. I must be in shock, I decided.

What I remembered then was Reenie, from when we were little. It was Reenie who'd done the bandaging, of scrapes and cuts and minor injuries: Mother might be resting, or doing good deeds elsewhere, but Reenie was always there. She'd scoop us up and sit us on the white enamel kitchen table, alongside the pie dough she was rolling out or the chicken she was cutting up or the fish she was gutting, and give us a lump of brown sugar to get us to close our mouths. Tell me where it hurts, she'd say. Stop howling. Just calm down and show me where.

But some people can't tell where it hurts. They can't calm down. They can't ever stop howling.

The Toronto Star, May 26, 1945

Questions Raised at the Death
Special to the Star

A coroner's inquest has returned a verdict of accidental death in last week's St. Clair Ave. fatality. Miss Laura Chase, 25, was travelling west on the afternoon of May 18 when her car swerved through the barriers protecting a repair site on the bridge and crashed into the ravine below, catching fire. Miss Chase was killed instantly. Her sister, Mrs. Richard E. Griffen, wife of the prominent manufacturer, gave evidence that Miss Chase suffered from severe headaches affecting her vision. In reply to questioning, she denied any possibility of intoxication as Miss Chase did not drink.

It was the police view that a tire caught in an exposed streetcar track was a contributing factor. Questions were raised as to the adequacy of safety precautions taken by the City, but after expert testimony by City engineer Gordon Perkins these were dismissed.

The accident has occasioned renewed protests over the state of the streetcar tracks on this stretch of roadway. Mr. Herb T. Jolliffe, representing local ratepayers, told Star reporters that this was not the worst mishap caused by neglected tracks. City Council should take note.

The Blind Assassin. By Laura Chase.
Reingold, Jaynes & Moreau, New York, 1947

Prologue: Perennials for the Rock Garden

She has a single photograph of him. She tucked it into a brown envelope on which she'd written clippings, and hid the envelope between the pages of Perennials for the Rock Garden, where no one else would ever look.

She's preserved this photo carefully, because it's almost all she has left of him. It's black and white, taken by one of those boxy, cumbersome flash cameras from before the war, with their accordion-pleat nozzles and their well-made leather cases that looked like muzzles, with straps and intricate buckles. The photo is of the two of them together, her and this man, on a picnic. Picnic is written on the back, in pencil-not his name or hers, just picnic. She knows the names, she doesn't need to write them down.

They're sitting under a tree; it might have been an apple tree; she didn't notice the tree much at the time. She's wearing a white blouse with the sleeves rolled to the elbow and a wide skirt tucked around her knees. There must have been a breeze, because of the way the shirt is blowing up against her; or perhaps it wasn't blowing, perhaps it was clinging; perhaps it was hot. It was hot. Holding her hand over the picture, she can still feel the heat coming up from it, like the heat from a sun-warmed stone at midnight.

The man is wearing a light-coloured hat, angled down on his head and partially shading his face. His face appears to be more darkly tanned than hers. She's turned half towards him, and smiling, in a way she can't remember smiling at anyone since. She seems very young in the picture, too young, though she hadn't considered herself too young at the time.

GASOLINEShivering in the almost-drizzleinside the wooden outboard,nose over gunwale,I watched it drip and spreadon the sheenless water:the brightest thing in wartime,a slick of rainbow,ephemeral as insect wings,green, blue, red, and pink,my shimmering private sideshow.Was this my best toy, then?This toxic smudge, this overspillfrom a sloppy gascan filledwith essence of danger?I knew that it was poison,its beauty an illusion:I could spell flammable.But still, I loved the smell:so alien, a whiffof starstuff.I would have liked to drink it,inhale its iridescence.As if I could.That's how gods lived: as if.  EUROPE ON $5 A DAYSunrise. The thin pocked sheetsare being washed. The city's old,but new to me, and thereforestrange, and therefore fresh.Everything's clear, but flat –even the oculist's dingy eyes,even the butcher's, with its painted horse,its trays of watery entrailsand slabs of darkening flesh.I walk along,looking at everything equally.I've got all I own in this bag.I've cut myself off.I can feel the placewhere I used to be attached.It's raw, as when you grateyour finger. It's a shredded messof images. It hurts.But where exactly on meis this torn-off stem?Now here, now there.Meanwhile the other girl,the one with the memory,is coming nearer and nearer.She's catching up to me,trailing behind her, like red smoke,the rope we share.

1
 
 
I know I was all right on Friday when I got up; if anything I was feeling more stolid than usual. When I went out to the kitchen to get breakfast Ainsley was there, moping: she said she had been to a bad party the night before. She swore there had been nothing but dentistry students, which depressed her so much she had consoled herself by getting drunk.
 
“You have no idea how soggy it is,” she said, “having to go through twenty conversations about the insides of peoples’ mouths. The most reaction I got out of them was when I described an abscess I once had. They positively drooled. And most men look at something besides your teeth, for god’s sake.”
 
She had a hangover, which put me in a cheerful mood – it made me feel so healthy – and I poured her a glass of tomato juice and briskly fixed her an Alka- Seltzer, listening and making sympathetic noises while she complained.
 
“As if I didn’t get enough of that at work,” she said. Ainsley has a job as a tester of defective electric toothbrushes for an electric toothbrush company: a temporary job. What she is waiting for is an opening in one of those little art galleries, even though they don’t pay well: she wants to meet the artists. Last year, she told me, it was actors, but then she actually met some. “It’s an absolute fixation. I expect they all carry those bent mirrors around in their coat pockets and peer into their own mouths every time they go to the john to make sure they’re still cavity- free.” She ran one hand reflectively through her hair, which is long and red, or rather auburn. “Could you imagine kissing one? He’d say ‘Open wide’ beforehand. They’re so bloody one- track.”
 
“It must have been awful,” I said, refilling her glass. “Couldn’t you have changed the topic?”
 
Ainsley raised her almost non- existent eyebrows, which hadn’t been coloured in yet that morning. “Of course not,” she said. “I pretended to be terribly interested. And naturally I didn’t let on what my job was: those professional men get so huffy if you know anything about their subject. You know, like Peter.”
 
Ainsley tends to make jabs at Peter, especially when she isn’t feeling well. I was magnanimous and didn’t respond. “You’d better eat something before you go to work,” I said, “it’s better when you’ve got something on your stomach.”
 
“Oh god,” said Ainsley, “I can’t face it. Another day of machines and mouths. I haven’t had an interesting one since last month, when that lady sent back her toothbrush because the bristles were falling off. We found out she’d been using Ajax.”
 
I got so caught up in being efficient for Ainsley’s benefit while complimenting myself on my moral superiority to her that I didn’t realize how late it was until she reminded me. At the electric toothbrush company they don’t care what time you breeze in, but my company thinks of itself as punctual. I had to skip the egg and wash down a glass of milk and a bowl of cold cereal which I knew would leave me hungry long before lunchtime. I chewed through a piece of bread while Ainsley watched me in nauseated silence and grabbed up my purse, leaving Ainsley to close the apartment door behind me.
 
We live on the top floor of a large house in one of the older and more genteel districts, in what I suppose used to be the servants’ quarters. This means there are two flights of stairs between us and the front door, the higher flight narrow and slippery, the lower one wide and carpeted but with stair rods that come loose. In the high heels expected by the office I have to go down sideways, clutching the bannister. That morning I made it safely past the line of pioneer brass warming- pans strung on the wall of our stairway, avoided catching myself on the many- pronged spinning wheel on the second-floor landing, and sidestepped quickly down past the ragged regimental flag behind glass and the row of oval- framed ancestors that guard the first stairway. I was relieved to see there was no one in the downstairs hall. On level ground I strode towards the door, swerving to avoid the rubber plant on one side and the hall table with the écru doily and the round brass tray on the other. Behind the velvet curtain to the right I could hear the child performing her morning penance at the piano. I thought I was safe.
 
But before I reached the door it swung silently inward upon its hinges, and I knew I was trapped. It was the lady down below. She was wearing a pair of spotless gardening gloves and carrying a trowel. I wondered who she’d been burying in the garden.
 
“Good morning, Miss MacAlpin,” she said.
 
“Good morning.” I nodded and smiled. I can never remember her name, and neither can Ainsley; I suppose we have what they call a mental block about it. I looked past her towards the street, but she didn’t move out of the doorway.
 
“I was out last night,” she said. “At a meeting.” She has an indirect way of going about things. I shifted from one foot to the other and smiled again, hoping she would realize I was in a hurry. “The child tells me there was another fire.”
 
“Well, it wasn’t exactly a fire,” I said. The child had taken this mention of her name as an excuse to stop practising, and was standing now in the velvet doorway of the parlour, staring at me. She is a hulking creature of fifteen or so who is being sent to an exclusive private girls’ school, and she has to wear a green tunic with knee-socks to match. I’m sure she’s really quite normal, but there’s something cretinous about the hair- ribbon perched up on top of her gigantic body.
 
The lady down below took off one of her gloves and patted her chignon. “Ah,” she said sweetly. “The child says there was a lot of smoke.”
 
“Everything was under control,” I said, not smiling this time. “It was just the pork chops.”
 
“Oh, I see,” she said. “Well, I do wish you would tell Miss Tewce to try not to make quite so much smoke in future. I’m afraid it upsets the child.” She holds Ainsley alone responsible for the smoke, and seems to think she sends it out of her nostrils like a dragon. But she never stops Ainsley in the hall to talk about it: only me. I suspect she’s decided Ainsley isn’t respectable, whereas I am. It’s probably the way we dress: Ainsley says I choose clothes as though they’re a camouflage or a protective colouration, though I can’t see anything wrong with that. She herself goes in for neon pink.
 
Of course I missed the bus: as I crossed the lawn I could see it disappearing across the bridge in a cloud of air pollution. While I was standing under the tree – our street has many trees, all of them enormous – waiting for the next bus, Ainsley came out of the house and joined me. She’s a quick- change artist; I could never put myself together in such a short time. She was looking a lot healthier – possibly the effects of makeup, though you can never tell with Ainsley – and she had her red hair piled up on top of her head, as she always does when she goes to work. The rest of the time she wears it down in straggles. She had on her orange and pink sleeveless dress, which I judged was too tight across the hips. The day was going to be hot and humid; already I could feel a private atmosphere condensing around me like a plastic bag. Maybe I should have worn a sleeveless dress too.
 
“She got me in the hall,” I said. “About the smoke.”
 
“The old bitch,” said Ainsley. “Why can’t she mind her own business?” Ainsley doesn’t come from a small town as I do, so she’s not as used to people being snoopy; on the other hand she’s not as afraid of it either. She has no idea about the consequences.
 
“She’s not that old,” I said, glancing over at the curtained windows of the house; though I knew she couldn’t hear us. “Besides, it wasn’t her who noticed the smoke, it was the child. She was at a meeting.”
 
“Probably the W.C.T.U.,” Ainsley said. “Or the I.O.D.E. I’ll bet she wasn’t at a meeting at all; she was hiding behind that damn velvet curtain, wanting us to think she was at a meeting so we’d really do something. What she wants is an orgy.”
 
“Now Ainsley,” I said, “you’re being paranoid.” Ainsley is convinced that the lady down below comes upstairs when we aren’t there and looks round our apartment and is silently horrified, and even suspects her of ruminating over our mail, though not of going so far as to open it. It’s a fact that she sometimes answers the front door for our visitors before they ring the bell. She must think she’s within her rights to take precautions: when we first considered renting the apartment she made it clear to us, by discreet allusions to previous tenants, that whatever happened the child’s innocence must not be corrupted, and that two young ladies were surely more to be depended upon than two young men.
 
“I’m doing my best,” she had said, sighing and shaking her head. She had intimated that her husband, whose portrait in oils hung above the piano, had not left as much money as he should have. “Of course you realize your apartment has no private entrance?” She had been stressing the drawbacks rather than the advantages, almost as though she didn’t want us to rent. I said we did realize it; Ainsley said nothing. We had agreed I would do the talking and Ainsley would sit and look innocent, something she can do very well when she wants to – she has a pink- and- white blunt baby’s face, a bump for a nose, and large blue eyes she can make as round as ping- pong balls. On this occasion I had even got her to wear gloves.
 
The lady down below shook her head again. “If it weren’t for the child,” she said, “I would sell the house. But I want the child to grow up in a good district.”
 
I said I understood, and she said that of course the district wasn’t as good as it used to be: some of the larger houses were too expensive to keep up and the owners had been forced to sell them to immigrants (the corners of her mouth turned gently down) who had divided them up into rooming houses. “But that hasn’t reached our street yet,” she said. “And I tell the child exactly which streets she can walk on and which she can’t.” I said I thought that was wise. She had seemed much easier to deal with before we had signed the lease. And the rent was so low, and the house was so close to the bus stop. For this city it was a real find.
 
“Besides,” I added to Ainsley, “they have a right to be worried about the smoke. What if the house was on fire? And she’s never mentioned the other things.”
 
“What other things? We’ve never done any other things.”
 
“Well . . .” I said. I suspected the lady down below had taken note of all the bottle- shaped objects we had carried upstairs, though I tried my best to disguise them as groceries. It was true she had never specifically forbidden us to do anything – that would be too crude a violation of her law of nuance – but this only makes me feel I am actually forbidden to do everything.
 
“On still nights,” said Ainsley as the bus drew up, “I can hear her burrowing through the woodwork.”
 
We didn’t talk on the bus; I don’t like talking on buses, I would rather look at the advertisements. Besides, Ainsley and I don’t have much in common except the lady down below. I’ve only known her since just before we moved in: she was a friend of a friend, looking for a room mate at the same time I was, which is the way these things are usually done. Maybe I should have tried a computer; though on the whole it’s worked out fairly well. We get along by a symbiotic adjustment of habits and with a minimum of that pale- mauve hostility you often find among women. Our apartment is never exactly clean, but we keep it from gathering more than a fine plum- bloom of dust by an unspoken agreement: if I do the breakfast dishes, Ainsley does the supper ones; if I sweep the living- room floor, Ainsley wipes the kitchen table. It’s a see- saw arrangement and we both know that if one beat is missed the whole thing will collapse. Of course we each have our own bedroom and what goes on in there is strictly the owner’s concern. For instance Ainsley’s floor is covered by a treacherous muskeg of used clothes with ashtrays scattered here and there on it like stepping- stones, but though I consider it a fire hazard I never speak to her about it. By such mutual refrainings – I assume they are mutual since there must be things I do that she doesn’t like – we manage to preserve a reasonably frictionless equilibrium.
 
We reached the subway station, where I bought a package of peanuts. I was beginning to feel hungry already. I offered some to Ainsley, but she refused, so I ate them all on the way downtown.
 
We got off at the second- last stop south and walked a block together; our office buildings are in the same district.
 
“By the way,” said Ainsley as I was turning off at my street, “have you got three dollars? We’re out of scotch.” I rummaged in my purse and handed over, not without a sense of injustice: we split the cost but rarely the contents. At the age of ten I wrote a temperance essay for a United Church Sunday- school competition, illustrating it with pictures of car crashes, diagrams of diseased livers, and charts showing the effects of alcohol upon the circulatory system; I expect that’s why I can never take a second drink without a mental image of a warning sign printed in coloured crayons and connected with the taste of tepid communion grape juice. This puts me at a disadvantage with Peter; he likes me to try and keep up with him.
 
As I hurried towards my office building, I found myself envying Ainsley her job. Though mine was better- paying and more interesting, hers was more temporary: she had an idea of what she wanted to do next. She could work in a shiny new air- conditioned office building, whereas mine was dingy brick with small windows. Also, her job was unusual. When she meets people at parties they are always surprised when she tells them she’s a tester of defective electric toothbrushes, and she always says, “What else do you do with a B.A. these days?” Whereas my kind of job is only to be expected. I was thinking too that really I was better equipped to handle her job than she is. From what I see around the apartment, I’m sure I have much more mechanical ability than Ainsley.
 
By the time I finally reached the office I was three- quarters of an hour late. None commented but all took note.

From the Trade Paperback edition.

1
 
 
I know I was all right on Friday when I got up; if anything I was feeling more stolid than usual. When I went out to the kitchen to get breakfast Ainsley was there, moping: she said she had been to a bad party the night before. She swore there had been nothing but dentistry students, which depressed her so much she had consoled herself by getting drunk.
 
“You have no idea how soggy it is,” she said, “having to go through twenty conversations about the insides of peoples’ mouths. The most reaction I got out of them was when I described an abscess I once had. They positively drooled. And most men look at something besides your teeth, for god’s sake.”
 
She had a hangover, which put me in a cheerful mood – it made me feel so healthy – and I poured her a glass of tomato juice and briskly fixed her an Alka- Seltzer, listening and making sympathetic noises while she complained.
 
“As if I didn’t get enough of that at work,” she said. Ainsley has a job as a tester of defective electric toothbrushes for an electric toothbrush company: a temporary job. What she is waiting for is an opening in one of those little art galleries, even though they don’t pay well: she wants to meet the artists. Last year, she told me, it was actors, but then she actually met some. “It’s an absolute fixation. I expect they all carry those bent mirrors around in their coat pockets and peer into their own mouths every time they go to the john to make sure they’re still cavity- free.” She ran one hand reflectively through her hair, which is long and red, or rather auburn. “Could you imagine kissing one? He’d say ‘Open wide’ beforehand. They’re so bloody one- track.”
 
“It must have been awful,” I said, refilling her glass. “Couldn’t you have changed the topic?”
 
Ainsley raised her almost non- existent eyebrows, which hadn’t been coloured in yet that morning. “Of course not,” she said. “I pretended to be terribly interested. And naturally I didn’t let on what my job was: those professional men get so huffy if you know anything about their subject. You know, like Peter.”
 
Ainsley tends to make jabs at Peter, especially when she isn’t feeling well. I was magnanimous and didn’t respond. “You’d better eat something before you go to work,” I said, “it’s better when you’ve got something on your stomach.”
 
“Oh god,” said Ainsley, “I can’t face it. Another day of machines and mouths. I haven’t had an interesting one since last month, when that lady sent back her toothbrush because the bristles were falling off. We found out she’d been using Ajax.”
 
I got so caught up in being efficient for Ainsley’s benefit while complimenting myself on my moral superiority to her that I didn’t realize how late it was until she reminded me. At the electric toothbrush company they don’t care what time you breeze in, but my company thinks of itself as punctual. I had to skip the egg and wash down a glass of milk and a bowl of cold cereal which I knew would leave me hungry long before lunchtime. I chewed through a piece of bread while Ainsley watched me in nauseated silence and grabbed up my purse, leaving Ainsley to close the apartment door behind me.
 
We live on the top floor of a large house in one of the older and more genteel districts, in what I suppose used to be the servants’ quarters. This means there are two flights of stairs between us and the front door, the higher flight narrow and slippery, the lower one wide and carpeted but with stair rods that come loose. In the high heels expected by the office I have to go down sideways, clutching the bannister. That morning I made it safely past the line of pioneer brass warming- pans strung on the wall of our stairway, avoided catching myself on the many- pronged spinning wheel on the second-floor landing, and sidestepped quickly down past the ragged regimental flag behind glass and the row of oval- framed ancestors that guard the first stairway. I was relieved to see there was no one in the downstairs hall. On level ground I strode towards the door, swerving to avoid the rubber plant on one side and the hall table with the écru doily and the round brass tray on the other. Behind the velvet curtain to the right I could hear the child performing her morning penance at the piano. I thought I was safe.
 
But before I reached the door it swung silently inward upon its hinges, and I knew I was trapped. It was the lady down below. She was wearing a pair of spotless gardening gloves and carrying a trowel. I wondered who she’d been burying in the garden.
 
“Good morning, Miss MacAlpin,” she said.
 
“Good morning.” I nodded and smiled. I can never remember her name, and neither can Ainsley; I suppose we have what they call a mental block about it. I looked past her towards the street, but she didn’t move out of the doorway.
 
“I was out last night,” she said. “At a meeting.” She has an indirect way of going about things. I shifted from one foot to the other and smiled again, hoping she would realize I was in a hurry. “The child tells me there was another fire.”
 
“Well, it wasn’t exactly a fire,” I said. The child had taken this mention of her name as an excuse to stop practising, and was standing now in the velvet doorway of the parlour, staring at me. She is a hulking creature of fifteen or so who is being sent to an exclusive private girls’ school, and she has to wear a green tunic with knee-socks to match. I’m sure she’s really quite normal, but there’s something cretinous about the hair- ribbon perched up on top of her gigantic body.
 
The lady down below took off one of her gloves and patted her chignon. “Ah,” she said sweetly. “The child says there was a lot of smoke.”
 
“Everything was under control,” I said, not smiling this time. “It was just the pork chops.”
 
“Oh, I see,” she said. “Well, I do wish you would tell Miss Tewce to try not to make quite so much smoke in future. I’m afraid it upsets the child.” She holds Ainsley alone responsible for the smoke, and seems to think she sends it out of her nostrils like a dragon. But she never stops Ainsley in the hall to talk about it: only me. I suspect she’s decided Ainsley isn’t respectable, whereas I am. It’s probably the way we dress: Ainsley says I choose clothes as though they’re a camouflage or a protective colouration, though I can’t see anything wrong with that. She herself goes in for neon pink.
 
Of course I missed the bus: as I crossed the lawn I could see it disappearing across the bridge in a cloud of air pollution. While I was standing under the tree – our street has many trees, all of them enormous – waiting for the next bus, Ainsley came out of the house and joined me. She’s a quick- change artist; I could never put myself together in such a short time. She was looking a lot healthier – possibly the effects of makeup, though you can never tell with Ainsley – and she had her red hair piled up on top of her head, as she always does when she goes to work. The rest of the time she wears it down in straggles. She had on her orange and pink sleeveless dress, which I judged was too tight across the hips. The day was going to be hot and humid; already I could feel a private atmosphere condensing around me like a plastic bag. Maybe I should have worn a sleeveless dress too.
 
“She got me in the hall,” I said. “About the smoke.”
 
“The old bitch,” said Ainsley. “Why can’t she mind her own business?” Ainsley doesn’t come from a small town as I do, so she’s not as used to people being snoopy; on the other hand she’s not as afraid of it either. She has no idea about the consequences.
 
“She’s not that old,” I said, glancing over at the curtained windows of the house; though I knew she couldn’t hear us. “Besides, it wasn’t her who noticed the smoke, it was the child. She was at a meeting.”
 
“Probably the W.C.T.U.,” Ainsley said. “Or the I.O.D.E. I’ll bet she wasn’t at a meeting at all; she was hiding behind that damn velvet curtain, wanting us to think she was at a meeting so we’d really do something. What she wants is an orgy.”
 
“Now Ainsley,” I said, “you’re being paranoid.” Ainsley is convinced that the lady down below comes upstairs when we aren’t there and looks round our apartment and is silently horrified, and even suspects her of ruminating over our mail, though not of going so far as to open it. It’s a fact that she sometimes answers the front door for our visitors before they ring the bell. She must think she’s within her rights to take precautions: when we first considered renting the apartment she made it clear to us, by discreet allusions to previous tenants, that whatever happened the child’s innocence must not be corrupted, and that two young ladies were surely more to be depended upon than two young men.
 
“I’m doing my best,” she had said, sighing and shaking her head. She had intimated that her husband, whose portrait in oils hung above the piano, had not left as much money as he should have. “Of course you realize your apartment has no private entrance?” She had been stressing the drawbacks rather than the advantages, almost as though she didn’t want us to rent. I said we did realize it; Ainsley said nothing. We had agreed I would do the talking and Ainsley would sit and look innocent, something she can do very well when she wants to – she has a pink- and- white blunt baby’s face, a bump for a nose, and large blue eyes she can make as round as ping- pong balls. On this occasion I had even got her to wear gloves.
 
The lady down below shook her head again. “If it weren’t for the child,” she said, “I would sell the house. But I want the child to grow up in a good district.”
 
I said I understood, and she said that of course the district wasn’t as good as it used to be: some of the larger houses were too expensive to keep up and the owners had been forced to sell them to immigrants (the corners of her mouth turned gently down) who had divided them up into rooming houses. “But that hasn’t reached our street yet,” she said. “And I tell the child exactly which streets she can walk on and which she can’t.” I said I thought that was wise. She had seemed much easier to deal with before we had signed the lease. And the rent was so low, and the house was so close to the bus stop. For this city it was a real find.
 
“Besides,” I added to Ainsley, “they have a right to be worried about the smoke. What if the house was on fire? And she’s never mentioned the other things.”
 
“What other things? We’ve never done any other things.”
 
“Well . . .” I said. I suspected the lady down below had taken note of all the bottle- shaped objects we had carried upstairs, though I tried my best to disguise them as groceries. It was true she had never specifically forbidden us to do anything – that would be too crude a violation of her law of nuance – but this only makes me feel I am actually forbidden to do everything.
 
“On still nights,” said Ainsley as the bus drew up, “I can hear her burrowing through the woodwork.”
 
We didn’t talk on the bus; I don’t like talking on buses, I would rather look at the advertisements. Besides, Ainsley and I don’t have much in common except the lady down below. I’ve only known her since just before we moved in: she was a friend of a friend, looking for a room mate at the same time I was, which is the way these things are usually done. Maybe I should have tried a computer; though on the whole it’s worked out fairly well. We get along by a symbiotic adjustment of habits and with a minimum of that pale- mauve hostility you often find among women. Our apartment is never exactly clean, but we keep it from gathering more than a fine plum- bloom of dust by an unspoken agreement: if I do the breakfast dishes, Ainsley does the supper ones; if I sweep the living- room floor, Ainsley wipes the kitchen table. It’s a see- saw arrangement and we both know that if one beat is missed the whole thing will collapse. Of course we each have our own bedroom and what goes on in there is strictly the owner’s concern. For instance Ainsley’s floor is covered by a treacherous muskeg of used clothes with ashtrays scattered here and there on it like stepping- stones, but though I consider it a fire hazard I never speak to her about it. By such mutual refrainings – I assume they are mutual since there must be things I do that she doesn’t like – we manage to preserve a reasonably frictionless equilibrium.
 
We reached the subway station, where I bought a package of peanuts. I was beginning to feel hungry already. I offered some to Ainsley, but she refused, so I ate them all on the way downtown.
 
We got off at the second- last stop south and walked a block together; our office buildings are in the same district.
 
“By the way,” said Ainsley as I was turning off at my street, “have you got three dollars? We’re out of scotch.” I rummaged in my purse and handed over, not without a sense of injustice: we split the cost but rarely the contents. At the age of ten I wrote a temperance essay for a United Church Sunday- school competition, illustrating it with pictures of car crashes, diagrams of diseased livers, and charts showing the effects of alcohol upon the circulatory system; I expect that’s why I can never take a second drink without a mental image of a warning sign printed in coloured crayons and connected with the taste of tepid communion grape juice. This puts me at a disadvantage with Peter; he likes me to try and keep up with him.
 
As I hurried towards my office building, I found myself envying Ainsley her job. Though mine was better- paying and more interesting, hers was more temporary: she had an idea of what she wanted to do next. She could work in a shiny new air- conditioned office building, whereas mine was dingy brick with small windows. Also, her job was unusual. When she meets people at parties they are always surprised when she tells them she’s a tester of defective electric toothbrushes, and she always says, “What else do you do with a B.A. these days?” Whereas my kind of job is only to be expected. I was thinking too that really I was better equipped to handle her job than she is. From what I see around the apartment, I’m sure I have much more mechanical ability than Ainsley.
 
By the time I finally reached the office I was three- quarters of an hour late. None commented but all took note.

1
 
 
I know I was all right on Friday when I got up; if anything I was feeling more stolid than usual. When I went out to the kitchen to get breakfast Ainsley was there, moping: she said she had been to a bad party the night before. She swore there had been nothing but dentistry students, which depressed her so much she had consoled herself by getting drunk.
 
“You have no idea how soggy it is,” she said, “having to go through twenty conversations about the insides of peoples’ mouths. The most reaction I got out of them was when I described an abscess I once had. They positively drooled. And most men look at something besides your teeth, for god’s sake.”
 
She had a hangover, which put me in a cheerful mood – it made me feel so healthy – and I poured her a glass of tomato juice and briskly fixed her an Alka- Seltzer, listening and making sympathetic noises while she complained.
 
“As if I didn’t get enough of that at work,” she said. Ainsley has a job as a tester of defective electric toothbrushes for an electric toothbrush company: a temporary job. What she is waiting for is an opening in one of those little art galleries, even though they don’t pay well: she wants to meet the artists. Last year, she told me, it was actors, but then she actually met some. “It’s an absolute fixation. I expect they all carry those bent mirrors around in their coat pockets and peer into their own mouths every time they go to the john to make sure they’re still cavity- free.” She ran one hand reflectively through her hair, which is long and red, or rather auburn. “Could you imagine kissing one? He’d say ‘Open wide’ beforehand. They’re so bloody one- track.”
 
“It must have been awful,” I said, refilling her glass. “Couldn’t you have changed the topic?”
 
Ainsley raised her almost non- existent eyebrows, which hadn’t been coloured in yet that morning. “Of course not,” she said. “I pretended to be terribly interested. And naturally I didn’t let on what my job was: those professional men get so huffy if you know anything about their subject. You know, like Peter.”
 
Ainsley tends to make jabs at Peter, especially when she isn’t feeling well. I was magnanimous and didn’t respond. “You’d better eat something before you go to work,” I said, “it’s better when you’ve got something on your stomach.”
 
“Oh god,” said Ainsley, “I can’t face it. Another day of machines and mouths. I haven’t had an interesting one since last month, when that lady sent back her toothbrush because the bristles were falling off. We found out she’d been using Ajax.”
 
I got so caught up in being efficient for Ainsley’s benefit while complimenting myself on my moral superiority to her that I didn’t realize how late it was until she reminded me. At the electric toothbrush company they don’t care what time you breeze in, but my company thinks of itself as punctual. I had to skip the egg and wash down a glass of milk and a bowl of cold cereal which I knew would leave me hungry long before lunchtime. I chewed through a piece of bread while Ainsley watched me in nauseated silence and grabbed up my purse, leaving Ainsley to close the apartment door behind me.
 
We live on the top floor of a large house in one of the older and more genteel districts, in what I suppose used to be the servants’ quarters. This means there are two flights of stairs between us and the front door, the higher flight narrow and slippery, the lower one wide and carpeted but with stair rods that come loose. In the high heels expected by the office I have to go down sideways, clutching the bannister. That morning I made it safely past the line of pioneer brass warming- pans strung on the wall of our stairway, avoided catching myself on the many- pronged spinning wheel on the second-floor landing, and sidestepped quickly down past the ragged regimental flag behind glass and the row of oval- framed ancestors that guard the first stairway. I was relieved to see there was no one in the downstairs hall. On level ground I strode towards the door, swerving to avoid the rubber plant on one side and the hall table with the écru doily and the round brass tray on the other. Behind the velvet curtain to the right I could hear the child performing her morning penance at the piano. I thought I was safe.
 
But before I reached the door it swung silently inward upon its hinges, and I knew I was trapped. It was the lady down below. She was wearing a pair of spotless gardening gloves and carrying a trowel. I wondered who she’d been burying in the garden.
 
“Good morning, Miss MacAlpin,” she said.
 
“Good morning.” I nodded and smiled. I can never remember her name, and neither can Ainsley; I suppose we have what they call a mental block about it. I looked past her towards the street, but she didn’t move out of the doorway.
 
“I was out last night,” she said. “At a meeting.” She has an indirect way of going about things. I shifted from one foot to the other and smiled again, hoping she would realize I was in a hurry. “The child tells me there was another fire.”
 
“Well, it wasn’t exactly a fire,” I said. The child had taken this mention of her name as an excuse to stop practising, and was standing now in the velvet doorway of the parlour, staring at me. She is a hulking creature of fifteen or so who is being sent to an exclusive private girls’ school, and she has to wear a green tunic with knee-socks to match. I’m sure she’s really quite normal, but there’s something cretinous about the hair- ribbon perched up on top of her gigantic body.
 
The lady down below took off one of her gloves and patted her chignon. “Ah,” she said sweetly. “The child says there was a lot of smoke.”
 
“Everything was under control,” I said, not smiling this time. “It was just the pork chops.”
 
“Oh, I see,” she said. “Well, I do wish you would tell Miss Tewce to try not to make quite so much smoke in future. I’m afraid it upsets the child.” She holds Ainsley alone responsible for the smoke, and seems to think she sends it out of her nostrils like a dragon. But she never stops Ainsley in the hall to talk about it: only me. I suspect she’s decided Ainsley isn’t respectable, whereas I am. It’s probably the way we dress: Ainsley says I choose clothes as though they’re a camouflage or a protective colouration, though I can’t see anything wrong with that. She herself goes in for neon pink.
 
Of course I missed the bus: as I crossed the lawn I could see it disappearing across the bridge in a cloud of air pollution. While I was standing under the tree – our street has many trees, all of them enormous – waiting for the next bus, Ainsley came out of the house and joined me. She’s a quick- change artist; I could never put myself together in such a short time. She was looking a lot healthier – possibly the effects of makeup, though you can never tell with Ainsley – and she had her red hair piled up on top of her head, as she always does when she goes to work. The rest of the time she wears it down in straggles. She had on her orange and pink sleeveless dress, which I judged was too tight across the hips. The day was going to be hot and humid; already I could feel a private atmosphere condensing around me like a plastic bag. Maybe I should have worn a sleeveless dress too.
 
“She got me in the hall,” I said. “About the smoke.”
 
“The old bitch,” said Ainsley. “Why can’t she mind her own business?” Ainsley doesn’t come from a small town as I do, so she’s not as used to people being snoopy; on the other hand she’s not as afraid of it either. She has no idea about the consequences.
 
“She’s not that old,” I said, glancing over at the curtained windows of the house; though I knew she couldn’t hear us. “Besides, it wasn’t her who noticed the smoke, it was the child. She was at a meeting.”
 
“Probably the W.C.T.U.,” Ainsley said. “Or the I.O.D.E. I’ll bet she wasn’t at a meeting at all; she was hiding behind that damn velvet curtain, wanting us to think she was at a meeting so we’d really do something. What she wants is an orgy.”
 
“Now Ainsley,” I said, “you’re being paranoid.” Ainsley is convinced that the lady down below comes upstairs when we aren’t there and looks round our apartment and is silently horrified, and even suspects her of ruminating over our mail, though not of going so far as to open it. It’s a fact that she sometimes answers the front door for our visitors before they ring the bell. She must think she’s within her rights to take precautions: when we first considered renting the apartment she made it clear to us, by discreet allusions to previous tenants, that whatever happened the child’s innocence must not be corrupted, and that two young ladies were surely more to be depended upon than two young men.
 
“I’m doing my best,” she had said, sighing and shaking her head. She had intimated that her husband, whose portrait in oils hung above the piano, had not left as much money as he should have. “Of course you realize your apartment has no private entrance?” She had been stressing the drawbacks rather than the advantages, almost as though she didn’t want us to rent. I said we did realize it; Ainsley said nothing. We had agreed I would do the talking and Ainsley would sit and look innocent, something she can do very well when she wants to – she has a pink- and- white blunt baby’s face, a bump for a nose, and large blue eyes she can make as round as ping- pong balls. On this occasion I had even got her to wear gloves.
 
The lady down below shook her head again. “If it weren’t for the child,” she said, “I would sell the house. But I want the child to grow up in a good district.”
 
I said I understood, and she said that of course the district wasn’t as good as it used to be: some of the larger houses were too expensive to keep up and the owners had been forced to sell them to immigrants (the corners of her mouth turned gently down) who had divided them up into rooming houses. “But that hasn’t reached our street yet,” she said. “And I tell the child exactly which streets she can walk on and which she can’t.” I said I thought that was wise. She had seemed much easier to deal with before we had signed the lease. And the rent was so low, and the house was so close to the bus stop. For this city it was a real find.
 
“Besides,” I added to Ainsley, “they have a right to be worried about the smoke. What if the house was on fire? And she’s never mentioned the other things.”
 
“What other things? We’ve never done any other things.”
 
“Well . . .” I said. I suspected the lady down below had taken note of all the bottle- shaped objects we had carried upstairs, though I tried my best to disguise them as groceries. It was true she had never specifically forbidden us to do anything – that would be too crude a violation of her law of nuance – but this only makes me feel I am actually forbidden to do everything.
 
“On still nights,” said Ainsley as the bus drew up, “I can hear her burrowing through the woodwork.”
 
We didn’t talk on the bus; I don’t like talking on buses, I would rather look at the advertisements. Besides, Ainsley and I don’t have much in common except the lady down below. I’ve only known her since just before we moved in: she was a friend of a friend, looking for a room mate at the same time I was, which is the way these things are usually done. Maybe I should have tried a computer; though on the whole it’s worked out fairly well. We get along by a symbiotic adjustment of habits and with a minimum of that pale- mauve hostility you often find among women. Our apartment is never exactly clean, but we keep it from gathering more than a fine plum- bloom of dust by an unspoken agreement: if I do the breakfast dishes, Ainsley does the supper ones; if I sweep the living- room floor, Ainsley wipes the kitchen table. It’s a see- saw arrangement and we both know that if one beat is missed the whole thing will collapse. Of course we each have our own bedroom and what goes on in there is strictly the owner’s concern. For instance Ainsley’s floor is covered by a treacherous muskeg of used clothes with ashtrays scattered here and there on it like stepping- stones, but though I consider it a fire hazard I never speak to her about it. By such mutual refrainings – I assume they are mutual since there must be things I do that she doesn’t like – we manage to preserve a reasonably frictionless equilibrium.
 
We reached the subway station, where I bought a package of peanuts. I was beginning to feel hungry already. I offered some to Ainsley, but she refused, so I ate them all on the way downtown.
 
We got off at the second- last stop south and walked a block together; our office buildings are in the same district.
 
“By the way,” said Ainsley as I was turning off at my street, “have you got three dollars? We’re out of scotch.” I rummaged in my purse and handed over, not without a sense of injustice: we split the cost but rarely the contents. At the age of ten I wrote a temperance essay for a United Church Sunday- school competition, illustrating it with pictures of car crashes, diagrams of diseased livers, and charts showing the effects of alcohol upon the circulatory system; I expect that’s why I can never take a second drink without a mental image of a warning sign printed in coloured crayons and connected with the taste of tepid communion grape juice. This puts me at a disadvantage with Peter; he likes me to try and keep up with him.
 
As I hurried towards my office building, I found myself envying Ainsley her job. Though mine was better- paying and more interesting, hers was more temporary: she had an idea of what she wanted to do next. She could work in a shiny new air- conditioned office building, whereas mine was dingy brick with small windows. Also, her job was unusual. When she meets people at parties they are always surprised when she tells them she’s a tester of defective electric toothbrushes, and she always says, “What else do you do with a B.A. these days?” Whereas my kind of job is only to be expected. I was thinking too that really I was better equipped to handle her job than she is. From what I see around the apartment, I’m sure I have much more mechanical ability than Ainsley.
 
By the time I finally reached the office I was three- quarters of an hour late. None commented but all took note.

1

We slept in what had once been the gymnasium. The floor was of varnished wood, with stripes and circles painted on it, for the games that were formerly played there; the hoops for the basketball nets were still in place, though the nets were gone. A balcony ran around the room, for the spectators, and I thought I could smell, faintly like an afterimage, the pungent scent of sweat, shot through with the sweet taint of chewing gum and perfume from the watching girls, felt-skirted as I knew from pictures, later in miniskirts, then pants, then in one earring, spiky green-streaked hair. Dances would have been held there; the music lingered, a palimpsest of unheard sound, style upon style, an undercurrent of drums, a forlorn wail, garlands made of tissue-paper flowers, cardboard devils, a revolving ball of mirrors, powdering the dancers with a snow of light.

There was old sex in the room and loneliness, and expectation, of something without a shape or name. I remember that yearning, for something that was always about to happen and was never the same as the hands that were on us there and then, in the small of the back, or out back, in the parking lot, or in the television room with the sound turned down and only the pictures flickering over lifting flesh.

We yearned for the future. How did we learn it, that talent for insatiability? It was in the air; and it was still in the air, an afterthought, as we tried to sleep, in the army cots that had been set up in rows, with spaces between so we could not talk. We had flannelette sheets, like children's, and army-issue blankets, old ones that still said U.S. We folded our clothes neatly and laid them on the stools at the ends of the beds. The lights were turned down but not out. Aunt Sara and Aunt Elizabeth patrolled; they had electric cattle prods slung on thongs from their leather belts.

No guns though, even they could not be trusted with guns. Guns were for the guards, specially picked from the Angels. The guards weren't allowed inside the building except when called, and we weren't allowed out, except for our walks, twice daily, two by two around the football field, which was enclosed now by a chain-link fence topped with barbed wire. The Angels stood outside it with their backs to us. They were objects of fear to us, but of something else as well. If only they would look. If only we could talk to them. Something could be exchanged, we thought, some deal made, some tradeoff, we still had our bodies. That was our fantasy.

We learned to whisper almost without sound. In the semidarkness we could stretch out our arms, when the Aunts weren't looking, and touch each other's hands across space. We learned to lip-read, our heads flat on the beds, turned sideways, watching each other's mouths. In this way we exchanged names, from bed to bed:

Alma. Janine. Dolores. Moira. June.

II

Shopping

2

A chair, a table, a lamp. Above, on the white ceiling, a relief ornament in the shape of a wreath, and in the center of it a blank space, plastered over, like the place in a face where the eye has been taken out. There must have been a chandelier, once. They've removed anything you could tie a rope to.

A window, two white curtains. Under the window, a window seat with a little cushion. When the window is partly open--it only opens partly--the air can come in and make the curtains move. I can sit in the chair, or on the window seat, hands folded, and watch this. Sunlight comes in through the window too, and falls on the floor, which is made of wood, in narrow strips, highly polished. I can smell the polish. There's a rug on the floor, oval, of braided rags. This is the kind of touch they like: folk art, archaic, made by women, in their spare time, from things that have no further use. A return to traditional values. Waste not want not. I am not being wasted. Why do I want?

On the wall above the chair, a picture, framed but with no glass: a print of flowers, blue irises, watercolor. Flowers are still allowed. Does each of us have the same print, the same chair, the same white curtains, I wonder? Government issue?

Think of it as being in the army, said Aunt Lydia.

A bed. Single, mattress medium-hard, covered with a flocked white spread. Nothing takes place in the bed but sleep; or no sleep. I try not to think too much. Like other things now, thought must be rationed. There's a lot that doesn't bear thinking about. Thinking can hurt your chances, and I intend to last. I know why there is no glass, in front of the watercolor picture of blue irises, and why the window opens only partly and why the glass in it is shatterproof. It isn't running away they're afraid of. We wouldn't get far. It's those other escapes, the ones you can open in yourself, given a cutting edge.

So. Apart from these details, this could be a college guest room, for the less distinguished visitors; or a room in a rooming house, of former times, for ladies in reduced circumstances. That is what we are now. The circumstances have been reduced; for those of us who still have circumstances.

But a chair, sunlight, flowers: these are not to be dismissed. I am alive, I live, I breathe, I put my hand out, unfolded, into the sunlight. Where I am is not a prison but a privilege, as Aunt Lydia said, who was in love with either/or.

The bell that measures time is ringing. Time here is measured by bells, as once in nunneries. As in a nunnery too, there are few mirrors.

I get up out of the chair, advance my feet into the sunlight, in their red shoes, flat-heeled to save the spine and not for dancing. The red gloves are lying on the bed. I pick them up, pull them onto my hands, finger by finger. Everything except the wings around my face is red: the color of blood, which defines us. The skirt is ankle-length, full, gathered to a flat yoke that extends over the breasts, the sleeves are full. The white wings too are prescribed issue; they are to keep us from seeing, but also from being seen. I never looked good in red, it's not my color. I pick up the shopping basket, put it over my arm.

The door of the room--not my room, I refuse to say my--is not locked. In fact it doesn't shut properly. I go out into the polished hallway, which has a runner down the center, dusty pink. Like a path through the forest, like a carpet for royalty, it shows me the way.

The carpet bends and goes down the front staircase and I go with it, one hand on the banister, once a tree, turned in another century, rubbed to a warm gloss. Late Victorian, the house is, a family house, built for a large rich family. There's a grandfather clock in the hallway, which doles out time, and then the door to the motherly front sitting room, with its flesh tones and hints. A sitting room in which I never sit, but stand or kneel only. At the end of the hallway, above the front door, is a fanlight of colored glass: flowers, red and blue.

There remains a mirror, on the hall wall. If I turn my head so that the white wings framing my face direct my vision towards it, I can see it as I go down the stairs, round, convex, a pier glass, like the eye of a fish, and myself in it like a distorted shadow, a parody of something, some fairy-tale figure in a red cloak, descending towards a moment of carelessness that is the same as danger. A Sister, dipped in blood.

At the bottom of the stairs there's a hat-and-umbrella stand, the bentwood kind, long rounded rungs of wood curving gently up into hooks shaped like the opening fronds of a fern. There are several umbrellas in it: black, for the Commander, blue, for the Commander's Wife, and the one assigned to me, which is red. I leave the red umbrella where it is, because I know from the window that the day is sunny. I wonder whether or not the Commander's Wife is in the sitting room. She doesn't always sit. Sometimes I can hear her pacing back and forth, a heavy step and then a light one, and the soft tap of her cane on the dusty-rose carpet.

I walk along the hallway, past the sitting room door and the door that leads into the dining room, and open the door at the end of the hall and go through into the kitchen. Here the smell is no longer of furniture polish. Rita is in here, standing at the kitchen table, which has a top of chipped white enamel. She's in her usual Martha's dress, which is dull green, like a surgeon's gown of the time before. The dress is much like mine in shape, long and concealing, but with a bib apron over it and without the white wings and the veil. She puts on the veil to go outside, but nobody much cares who sees the face of a Martha. Her sleeves are rolled to the elbow, showing her brown arms. She's making bread, throwing the loaves for the final brief kneading and then the shaping.

Rita sees me and nods, whether in greeting or in simple acknowledgment of my presence it's hard to say, and wipes her floury hands on her apron and rummages in the kitchen drawer for the token book. Frowning, she tears out three tokens and hands them to me. Her face might be kindly if she would smile. But the frown isn't personal: it's the red dress she disapproves of, and what it stands for. She thinks I may be catching, like a disease or any form of bad luck.

Sometimes I listen outside closed doors, a thing I never would have done in the time before. I don't listen long, because I don't want to be caught doing it. Once, though, I heard Rita say to Cora that she wouldn't debase herself like that.

Nobody asking you, Cora said. Anyways, what could you do, supposing?

Go to the Colonies, Rita said. They have the choice.

With the Unwomen, and starve to death and Lord knows what all? said Cora. Catch you.

They were shelling peas; even through the almost-closed door I could hear the light clink of the hard peas falling into the metal bowl. I heard Rita, a grunt or a sigh, of protest or agreement.

Anyways, they're doing it for us all, said Cora, or so they say. If I hadn't of got my tubes tied, it could of been me, say I was ten years younger. It's not that bad. It's not what you'd call hard work.

Better her than me, Rita said, and I opened the door. Their faces were the way women's faces are when they've been talking about you behind your back and they think you've heard: embarrassed, but also a little defiant, as if it were their right. That day, Cora was more pleasant to me than usual, Rita more surly.

Today, despite Rita's closed face and pressed lips, I would like to stay here, in the kitchen. Cora might come in, from somewhere else in the house, carrying her bottle of lemon oil and her duster, and Rita would make coffee--in the houses of the Commanders there is still real coffee--and we would sit at Rita's kitchen table, which is not Rita's any more than my table is mine, and we would talk, about aches and pains, illnesses, our feet, our backs, all the different kinds of mischief that our bodies, like unruly children, can get into. We would nod our heads as punctuation to each other's voices, signaling that yes, we know all about it. We would exchange remedies and try to outdo each other in the recital of our physical miseries; gently we would complain, our voices soft and minor key and mournful as pigeons in the eaves troughs. I know what you mean, we'd say. Or, a quaint expression you sometimes hear, still, from older people: I hear where you're coming from, as if the voice itself were a traveler, arriving from a distant place. Which it would be, which it is.

How I used to despise such talk. Now I long for it. At least it was talk. An exchange, of sorts.

Or we would gossip. The Marthas know things, they talk among themselves, passing the unofficial news from house to house. Like me, they listen at doors, no doubt, and see things even with their eyes averted. I've heard them at it sometimes, caught whiffs of their private conversations. Stillborn, it was. Or, Stabbed her with a knitting needle, right in the belly. Jealousy, it must have been, eating her up. Or, tantalizingly, It was toilet cleaner she used. Worked like a charm, though you'd think he'd of tasted it. Must've been that drunk; but they found her out all right.

Or I would help Rita make the bread, sinking my hands into that soft resistant warmth which is so much like flesh. I hunger to touch something, other than cloth or wood. I hunger to commit the act of touch.

But even if I were to ask, even if I were to violate decorum to that extent, Rita would not allow it. She would be too afraid. The Marthas are not supposed to fraternize with us.

Fraternize means to behave like a brother. Luke told me that. He said there was no corresponding word that meant to behave like a sister. Sororize, it would have to be, he said. From the Latin. He liked knowing about such details. The derivations of words, curious usages. I used to tease him about being pedantic.

I take the tokens from Rita's outstretched hand. They have pictures on them, of the things they can be exchanged for: twelve eggs, a piece of cheese, a brown thing that's supposed to be a steak. I place them in the zippered pocket in my sleeve, where I keep my pass.

"Tell them fresh, for the eggs," she says. "Not like last time. And a chicken, tell them, not a hen. Tell them who it's for and then they won't mess around."

"All right," I say. I don't smile. Why tempt her to friendship?

3

I go out by the back door, into the garden, which is large and tidy: a lawn in the middle, a willow, weeping catkins; around the edges, the flower borders, in which the daffodils are now fading and the tulips are opening their cups, spilling out color. The tulips are red, a darker crimson towards the stem, as if they have been cut and are beginning to heal there.

This garden is the domain of the Commander's Wife. Looking out through my shatterproof window I've often seen her in it, her knees on a cushion, a light blue veil thrown over her wide gardening hat, a basket at her side with shears in it and pieces of string for tying the flowers into place. A Guardian detailed to the Commander does the heavy digging; the Commander's Wife directs, pointing with her stick. Many of the Wives have such gardens, it's something for them to order and maintain and care for.

I once had a garden. I can remember the smell of the turned earth, the plump shapes of bulbs held in the hands, fullness, the dry rustle of seeds through the fingers. Time could pass more swiftly that way. Sometimes the Commander's Wife has a chair brought out, and just sits in it, in her garden. From a distance it looks like peace.

She isn't here now, and I start to wonder where she is: I don't like to come upon the Commander's Wife unexpectedly. Perhaps she's sewing, in the sitting room, with her left foot on the footstool, because of her arthritis. Or knitting scarves, for the Angels at the front lines. I can hardly believe the Angels have a need for such scarves; anyway, the ones made by the Commander's Wife are too elaborate. She doesn't bother with the cross-and-star pattern used by many of the other Wives, it's not a challenge. Fir trees march across the ends of her scarves, or eagles, or stiff humanoid figures, boy and girl, boy and girl. They aren't scarves for grown men but for children.

From the Paperback edition.

1

We slept in what had once been the gymnasium. The floor was of varnished wood, with stripes and circles painted on it, for the games that were formerly played there; the hoops for the basketball nets were still in place, though the nets were gone. A balcony ran around the room, for the spectators, and I thought I could smell, faintly like an afterimage, the pungent scent of sweat, shot through with the sweet taint of chewing gum and perfume from the watching girls, felt-skirted as I knew from pictures, later in miniskirts, then pants, then in one earring, spiky green-streaked hair. Dances would have been held there; the music lingered, a palimpsest of unheard sound, style upon style, an undercurrent of drums, a forlorn wail, garlands made of tissue-paper flowers, cardboard devils, a revolving ball of mirrors, powdering the dancers with a snow of light.

There was old sex in the room and loneliness, and expectation, of something without a shape or name. I remember that yearning, for something that was always about to happen and was never the same as the hands that were on us there and then, in the small of the back, or out back, in the parking lot, or in the television room with the sound turned down and only the pictures flickering over lifting flesh.

We yearned for the future. How did we learn it, that talent for insatiability? It was in the air; and it was still in the air, an afterthought, as we tried to sleep, in the army cots that had been set up in rows, with spaces between so we could not talk. We had flannelette sheets, like children's, and army-issue blankets, old ones that still said U.S. We folded our clothes neatly and laid them on the stools at the ends of the beds. The lights were turned down but not out. Aunt Sara and Aunt Elizabeth patrolled; they had electric cattle prods slung on thongs from their leather belts.

No guns though, even they could not be trusted with guns. Guns were for the guards, specially picked from the Angels. The guards weren't allowed inside the building except when called, and we weren't allowed out, except for our walks, twice daily, two by two around the football field, which was enclosed now by a chain-link fence topped with barbed wire. The Angels stood outside it with their backs to us. They were objects of fear to us, but of something else as well. If only they would look. If only we could talk to them. Something could be exchanged, we thought, some deal made, some tradeoff, we still had our bodies. That was our fantasy.

We learned to whisper almost without sound. In the semidarkness we could stretch out our arms, when the Aunts weren't looking, and touch each other's hands across space. We learned to lip-read, our heads flat on the beds, turned sideways, watching each other's mouths. In this way we exchanged names, from bed to bed:

Alma. Janine. Dolores. Moira. June.

II

Shopping

2

A chair, a table, a lamp. Above, on the white ceiling, a relief ornament in the shape of a wreath, and in the center of it a blank space, plastered over, like the place in a face where the eye has been taken out. There must have been a chandelier, once. They've removed anything you could tie a rope to.

A window, two white curtains. Under the window, a window seat with a little cushion. When the window is partly open--it only opens partly--the air can come in and make the curtains move. I can sit in the chair, or on the window seat, hands folded, and watch this. Sunlight comes in through the window too, and falls on the floor, which is made of wood, in narrow strips, highly polished. I can smell the polish. There's a rug on the floor, oval, of braided rags. This is the kind of touch they like: folk art, archaic, made by women, in their spare time, from things that have no further use. A return to traditional values. Waste not want not. I am not being wasted. Why do I want?

On the wall above the chair, a picture, framed but with no glass: a print of flowers, blue irises, watercolor. Flowers are still allowed. Does each of us have the same print, the same chair, the same white curtains, I wonder? Government issue?

Think of it as being in the army, said Aunt Lydia.

A bed. Single, mattress medium-hard, covered with a flocked white spread. Nothing takes place in the bed but sleep; or no sleep. I try not to think too much. Like other things now, thought must be rationed. There's a lot that doesn't bear thinking about. Thinking can hurt your chances, and I intend to last. I know why there is no glass, in front of the watercolor picture of blue irises, and why the window opens only partly and why the glass in it is shatterproof. It isn't running away they're afraid of. We wouldn't get far. It's those other escapes, the ones you can open in yourself, given a cutting edge.

So. Apart from these details, this could be a college guest room, for the less distinguished visitors; or a room in a rooming house, of former times, for ladies in reduced circumstances. That is what we are now. The circumstances have been reduced; for those of us who still have circumstances.

But a chair, sunlight, flowers: these are not to be dismissed. I am alive, I live, I breathe, I put my hand out, unfolded, into the sunlight. Where I am is not a prison but a privilege, as Aunt Lydia said, who was in love with either/or.

The bell that measures time is ringing. Time here is measured by bells, as once in nunneries. As in a nunnery too, there are few mirrors.

I get up out of the chair, advance my feet into the sunlight, in their red shoes, flat-heeled to save the spine and not for dancing. The red gloves are lying on the bed. I pick them up, pull them onto my hands, finger by finger. Everything except the wings around my face is red: the color of blood, which defines us. The skirt is ankle-length, full, gathered to a flat yoke that extends over the breasts, the sleeves are full. The white wings too are prescribed issue; they are to keep us from seeing, but also from being seen. I never looked good in red, it's not my color. I pick up the shopping basket, put it over my arm.

The door of the room--not my room, I refuse to say my--is not locked. In fact it doesn't shut properly. I go out into the polished hallway, which has a runner down the center, dusty pink. Like a path through the forest, like a carpet for royalty, it shows me the way.

The carpet bends and goes down the front staircase and I go with it, one hand on the banister, once a tree, turned in another century, rubbed to a warm gloss. Late Victorian, the house is, a family house, built for a large rich family. There's a grandfather clock in the hallway, which doles out time, and then the door to the motherly front sitting room, with its flesh tones and hints. A sitting room in which I never sit, but stand or kneel only. At the end of the hallway, above the front door, is a fanlight of colored glass: flowers, red and blue.

There remains a mirror, on the hall wall. If I turn my head so that the white wings framing my face direct my vision towards it, I can see it as I go down the stairs, round, convex, a pier glass, like the eye of a fish, and myself in it like a distorted shadow, a parody of something, some fairy-tale figure in a red cloak, descending towards a moment of carelessness that is the same as danger. A Sister, dipped in blood.

At the bottom of the stairs there's a hat-and-umbrella stand, the bentwood kind, long rounded rungs of wood curving gently up into hooks shaped like the opening fronds of a fern. There are several umbrellas in it: black, for the Commander, blue, for the Commander's Wife, and the one assigned to me, which is red. I leave the red umbrella where it is, because I know from the window that the day is sunny. I wonder whether or not the Commander's Wife is in the sitting room. She doesn't always sit. Sometimes I can hear her pacing back and forth, a heavy step and then a light one, and the soft tap of her cane on the dusty-rose carpet.

I walk along the hallway, past the sitting room door and the door that leads into the dining room, and open the door at the end of the hall and go through into the kitchen. Here the smell is no longer of furniture polish. Rita is in here, standing at the kitchen table, which has a top of chipped white enamel. She's in her usual Martha's dress, which is dull green, like a surgeon's gown of the time before. The dress is much like mine in shape, long and concealing, but with a bib apron over it and without the white wings and the veil. She puts on the veil to go outside, but nobody much cares who sees the face of a Martha. Her sleeves are rolled to the elbow, showing her brown arms. She's making bread, throwing the loaves for the final brief kneading and then the shaping.

Rita sees me and nods, whether in greeting or in simple acknowledgment of my presence it's hard to say, and wipes her floury hands on her apron and rummages in the kitchen drawer for the token book. Frowning, she tears out three tokens and hands them to me. Her face might be kindly if she would smile. But the frown isn't personal: it's the red dress she disapproves of, and what it stands for. She thinks I may be catching, like a disease or any form of bad luck.

Sometimes I listen outside closed doors, a thing I never would have done in the time before. I don't listen long, because I don't want to be caught doing it. Once, though, I heard Rita say to Cora that she wouldn't debase herself like that.

Nobody asking you, Cora said. Anyways, what could you do, supposing?

Go to the Colonies, Rita said. They have the choice.

With the Unwomen, and starve to death and Lord knows what all? said Cora. Catch you.

They were shelling peas; even through the almost-closed door I could hear the light clink of the hard peas falling into the metal bowl. I heard Rita, a grunt or a sigh, of protest or agreement.

Anyways, they're doing it for us all, said Cora, or so they say. If I hadn't of got my tubes tied, it could of been me, say I was ten years younger. It's not that bad. It's not what you'd call hard work.

Better her than me, Rita said, and I opened the door. Their faces were the way women's faces are when they've been talking about you behind your back and they think you've heard: embarrassed, but also a little defiant, as if it were their right. That day, Cora was more pleasant to me than usual, Rita more surly.

Today, despite Rita's closed face and pressed lips, I would like to stay here, in the kitchen. Cora might come in, from somewhere else in the house, carrying her bottle of lemon oil and her duster, and Rita would make coffee--in the houses of the Commanders there is still real coffee--and we would sit at Rita's kitchen table, which is not Rita's any more than my table is mine, and we would talk, about aches and pains, illnesses, our feet, our backs, all the different kinds of mischief that our bodies, like unruly children, can get into. We would nod our heads as punctuation to each other's voices, signaling that yes, we know all about it. We would exchange remedies and try to outdo each other in the recital of our physical miseries; gently we would complain, our voices soft and minor key and mournful as pigeons in the eaves troughs. I know what you mean, we'd say. Or, a quaint expression you sometimes hear, still, from older people: I hear where you're coming from, as if the voice itself were a traveler, arriving from a distant place. Which it would be, which it is.

How I used to despise such talk. Now I long for it. At least it was talk. An exchange, of sorts.

Or we would gossip. The Marthas know things, they talk among themselves, passing the unofficial news from house to house. Like me, they listen at doors, no doubt, and see things even with their eyes averted. I've heard them at it sometimes, caught whiffs of their private conversations. Stillborn, it was. Or, Stabbed her with a knitting needle, right in the belly. Jealousy, it must have been, eating her up. Or, tantalizingly, It was toilet cleaner she used. Worked like a charm, though you'd think he'd of tasted it. Must've been that drunk; but they found her out all right.

Or I would help Rita make the bread, sinking my hands into that soft resistant warmth which is so much like flesh. I hunger to touch something, other than cloth or wood. I hunger to commit the act of touch.

But even if I were to ask, even if I were to violate decorum to that extent, Rita would not allow it. She would be too afraid. The Marthas are not supposed to fraternize with us.

Fraternize means to behave like a brother. Luke told me that. He said there was no corresponding word that meant to behave like a sister. Sororize, it would have to be, he said. From the Latin. He liked knowing about such details. The derivations of words, curious usages. I used to tease him about being pedantic.

I take the tokens from Rita's outstretched hand. They have pictures on them, of the things they can be exchanged for: twelve eggs, a piece of cheese, a brown thing that's supposed to be a steak. I place them in the zippered pocket in my sleeve, where I keep my pass.

"Tell them fresh, for the eggs," she says. "Not like last time. And a chicken, tell them, not a hen. Tell them who it's for and then they won't mess around."

"All right," I say. I don't smile. Why tempt her to friendship?

3

I go out by the back door, into the garden, which is large and tidy: a lawn in the middle, a willow, weeping catkins; around the edges, the flower borders, in which the daffodils are now fading and the tulips are opening their cups, spilling out color. The tulips are red, a darker crimson towards the stem, as if they have been cut and are beginning to heal there.

This garden is the domain of the Commander's Wife. Looking out through my shatterproof window I've often seen her in it, her knees on a cushion, a light blue veil thrown over her wide gardening hat, a basket at her side with shears in it and pieces of string for tying the flowers into place. A Guardian detailed to the Commander does the heavy digging; the Commander's Wife directs, pointing with her stick. Many of the Wives have such gardens, it's something for them to order and maintain and care for.

I once had a garden. I can remember the smell of the turned earth, the plump shapes of bulbs held in the hands, fullness, the dry rustle of seeds through the fingers. Time could pass more swiftly that way. Sometimes the Commander's Wife has a chair brought out, and just sits in it, in her garden. From a distance it looks like peace.

She isn't here now, and I start to wonder where she is: I don't like to come upon the Commander's Wife unexpectedly. Perhaps she's sewing, in the sitting room, with her left foot on the footstool, because of her arthritis. Or knitting scarves, for the Angels at the front lines. I can hardly believe the Angels have a need for such scarves; anyway, the ones made by the Commander's Wife are too elaborate. She doesn't bother with the cross-and-star pattern used by many of the other Wives, it's not a challenge. Fir trees march across the ends of her scarves, or eagles, or stiff humanoid figures, boy and girl, boy and girl. They aren't scarves for grown men but for children.

1

We slept in what had once been the gymnasium. The floor was of varnished wood, with stripes and circles painted on it, for the games that were formerly played there; the hoops for the basketball nets were still in place, though the nets were gone. A balcony ran around the room, for the spectators, and I thought I could smell, faintly like an afterimage, the pungent scent of sweat, shot through with the sweet taint of chewing gum and perfume from the watching girls, felt-skirted as I knew from pictures, later in miniskirts, then pants, then in one earring, spiky green-streaked hair. Dances would have been held there; the music lingered, a palimpsest of unheard sound, style upon style, an undercurrent of drums, a forlorn wail, garlands made of tissue-paper flowers, cardboard devils, a revolving ball of mirrors, powdering the dancers with a snow of light.

There was old sex in the room and loneliness, and expectation, of something without a shape or name. I remember that yearning, for something that was always about to happen and was never the same as the hands that were on us there and then, in the small of the back, or out back, in the parking lot, or in the television room with the sound turned down and only the pictures flickering over lifting flesh.

We yearned for the future. How did we learn it, that talent for insatiability? It was in the air; and it was still in the air, an afterthought, as we tried to sleep, in the army cots that had been set up in rows, with spaces between so we could not talk. We had flannelette sheets, like children's, and army-issue blankets, old ones that still said U.S. We folded our clothes neatly and laid them on the stools at the ends of the beds. The lights were turned down but not out. Aunt Sara and Aunt Elizabeth patrolled; they had electric cattle prods slung on thongs from their leather belts.

No guns though, even they could not be trusted with guns. Guns were for the guards, specially picked from the Angels. The guards weren't allowed inside the building except when called, and we weren't allowed out, except for our walks, twice daily, two by two around the football field, which was enclosed now by a chain-link fence topped with barbed wire. The Angels stood outside it with their backs to us. They were objects of fear to us, but of something else as well. If only they would look. If only we could talk to them. Something could be exchanged, we thought, some deal made, some tradeoff, we still had our bodies. That was our fantasy.

We learned to whisper almost without sound. In the semidarkness we could stretch out our arms, when the Aunts weren't looking, and touch each other's hands across space. We learned to lip-read, our heads flat on the beds, turned sideways, watching each other's mouths. In this way we exchanged names, from bed to bed:

Alma. Janine. Dolores. Moira. June.

II

Shopping

2

A chair, a table, a lamp. Above, on the white ceiling, a relief ornament in the shape of a wreath, and in the center of it a blank space, plastered over, like the place in a face where the eye has been taken out. There must have been a chandelier, once. They've removed anything you could tie a rope to.

A window, two white curtains. Under the window, a window seat with a little cushion. When the window is partly open--it only opens partly--the air can come in and make the curtains move. I can sit in the chair, or on the window seat, hands folded, and watch this. Sunlight comes in through the window too, and falls on the floor, which is made of wood, in narrow strips, highly polished. I can smell the polish. There's a rug on the floor, oval, of braided rags. This is the kind of touch they like: folk art, archaic, made by women, in their spare time, from things that have no further use. A return to traditional values. Waste not want not. I am not being wasted. Why do I want?

On the wall above the chair, a picture, framed but with no glass: a print of flowers, blue irises, watercolor. Flowers are still allowed. Does each of us have the same print, the same chair, the same white curtains, I wonder? Government issue?

Think of it as being in the army, said Aunt Lydia.

A bed. Single, mattress medium-hard, covered with a flocked white spread. Nothing takes place in the bed but sleep; or no sleep. I try not to think too much. Like other things now, thought must be rationed. There's a lot that doesn't bear thinking about. Thinking can hurt your chances, and I intend to last. I know why there is no glass, in front of the watercolor picture of blue irises, and why the window opens only partly and why the glass in it is shatterproof. It isn't running away they're afraid of. We wouldn't get far. It's those other escapes, the ones you can open in yourself, given a cutting edge.

So. Apart from these details, this could be a college guest room, for the less distinguished visitors; or a room in a rooming house, of former times, for ladies in reduced circumstances. That is what we are now. The circumstances have been reduced; for those of us who still have circumstances.

But a chair, sunlight, flowers: these are not to be dismissed. I am alive, I live, I breathe, I put my hand out, unfolded, into the sunlight. Where I am is not a prison but a privilege, as Aunt Lydia said, who was in love with either/or.

The bell that measures time is ringing. Time here is measured by bells, as once in nunneries. As in a nunnery too, there are few mirrors.

I get up out of the chair, advance my feet into the sunlight, in their red shoes, flat-heeled to save the spine and not for dancing. The red gloves are lying on the bed. I pick them up, pull them onto my hands, finger by finger. Everything except the wings around my face is red: the color of blood, which defines us. The skirt is ankle-length, full, gathered to a flat yoke that extends over the breasts, the sleeves are full. The white wings too are prescribed issue; they are to keep us from seeing, but also from being seen. I never looked good in red, it's not my color. I pick up the shopping basket, put it over my arm.

The door of the room--not my room, I refuse to say my--is not locked. In fact it doesn't shut properly. I go out into the polished hallway, which has a runner down the center, dusty pink. Like a path through the forest, like a carpet for royalty, it shows me the way.

The carpet bends and goes down the front staircase and I go with it, one hand on the banister, once a tree, turned in another century, rubbed to a warm gloss. Late Victorian, the house is, a family house, built for a large rich family. There's a grandfather clock in the hallway, which doles out time, and then the door to the motherly front sitting room, with its flesh tones and hints. A sitting room in which I never sit, but stand or kneel only. At the end of the hallway, above the front door, is a fanlight of colored glass: flowers, red and blue.

There remains a mirror, on the hall wall. If I turn my head so that the white wings framing my face direct my vision towards it, I can see it as I go down the stairs, round, convex, a pier glass, like the eye of a fish, and myself in it like a distorted shadow, a parody of something, some fairy-tale figure in a red cloak, descending towards a moment of carelessness that is the same as danger. A Sister, dipped in blood.

At the bottom of the stairs there's a hat-and-umbrella stand, the bentwood kind, long rounded rungs of wood curving gently up into hooks shaped like the opening fronds of a fern. There are several umbrellas in it: black, for the Commander, blue, for the Commander's Wife, and the one assigned to me, which is red. I leave the red umbrella where it is, because I know from the window that the day is sunny. I wonder whether or not the Commander's Wife is in the sitting room. She doesn't always sit. Sometimes I can hear her pacing back and forth, a heavy step and then a light one, and the soft tap of her cane on the dusty-rose carpet.

I walk along the hallway, past the sitting room door and the door that leads into the dining room, and open the door at the end of the hall and go through into the kitchen. Here the smell is no longer of furniture polish. Rita is in here, standing at the kitchen table, which has a top of chipped white enamel. She's in her usual Martha's dress, which is dull green, like a surgeon's gown of the time before. The dress is much like mine in shape, long and concealing, but with a bib apron over it and without the white wings and the veil. She puts on the veil to go outside, but nobody much cares who sees the face of a Martha. Her sleeves are rolled to the elbow, showing her brown arms. She's making bread, throwing the loaves for the final brief kneading and then the shaping.

Rita sees me and nods, whether in greeting or in simple acknowledgment of my presence it's hard to say, and wipes her floury hands on her apron and rummages in the kitchen drawer for the token book. Frowning, she tears out three tokens and hands them to me. Her face might be kindly if she would smile. But the frown isn't personal: it's the red dress she disapproves of, and what it stands for. She thinks I may be catching, like a disease or any form of bad luck.

Sometimes I listen outside closed doors, a thing I never would have done in the time before. I don't listen long, because I don't want to be caught doing it. Once, though, I heard Rita say to Cora that she wouldn't debase herself like that.

Nobody asking you, Cora said. Anyways, what could you do, supposing?

Go to the Colonies, Rita said. They have the choice.

With the Unwomen, and starve to death and Lord knows what all? said Cora. Catch you.

They were shelling peas; even through the almost-closed door I could hear the light clink of the hard peas falling into the metal bowl. I heard Rita, a grunt or a sigh, of protest or agreement.

Anyways, they're doing it for us all, said Cora, or so they say. If I hadn't of got my tubes tied, it could of been me, say I was ten years younger. It's not that bad. It's not what you'd call hard work.

Better her than me, Rita said, and I opened the door. Their faces were the way women's faces are when they've been talking about you behind your back and they think you've heard: embarrassed, but also a little defiant, as if it were their right. That day, Cora was more pleasant to me than usual, Rita more surly.

Today, despite Rita's closed face and pressed lips, I would like to stay here, in the kitchen. Cora might come in, from somewhere else in the house, carrying her bottle of lemon oil and her duster, and Rita would make coffee--in the houses of the Commanders there is still real coffee--and we would sit at Rita's kitchen table, which is not Rita's any more than my table is mine, and we would talk, about aches and pains, illnesses, our feet, our backs, all the different kinds of mischief that our bodies, like unruly children, can get into. We would nod our heads as punctuation to each other's voices, signaling that yes, we know all about it. We would exchange remedies and try to outdo each other in the recital of our physical miseries; gently we would complain, our voices soft and minor key and mournful as pigeons in the eaves troughs. I know what you mean, we'd say. Or, a quaint expression you sometimes hear, still, from older people: I hear where you're coming from, as if the voice itself were a traveler, arriving from a distant place. Which it would be, which it is.

How I used to despise such talk. Now I long for it. At least it was talk. An exchange, of sorts.

Or we would gossip. The Marthas know things, they talk among themselves, passing the unofficial news from house to house. Like me, they listen at doors, no doubt, and see things even with their eyes averted. I've heard them at it sometimes, caught whiffs of their private conversations. Stillborn, it was. Or, Stabbed her with a knitting needle, right in the belly. Jealousy, it must have been, eating her up. Or, tantalizingly, It was toilet cleaner she used. Worked like a charm, though you'd think he'd of tasted it. Must've been that drunk; but they found her out all right.

Or I would help Rita make the bread, sinking my hands into that soft resistant warmth which is so much like flesh. I hunger to touch something, other than cloth or wood. I hunger to commit the act of touch.

But even if I were to ask, even if I were to violate decorum to that extent, Rita would not allow it. She would be too afraid. The Marthas are not supposed to fraternize with us.

Fraternize means to behave like a brother. Luke told me that. He said there was no corresponding word that meant to behave like a sister. Sororize, it would have to be, he said. From the Latin. He liked knowing about such details. The derivations of words, curious usages. I used to tease him about being pedantic.

I take the tokens from Rita's outstretched hand. They have pictures on them, of the things they can be exchanged for: twelve eggs, a piece of cheese, a brown thing that's supposed to be a steak. I place them in the zippered pocket in my sleeve, where I keep my pass.

"Tell them fresh, for the eggs," she says. "Not like last time. And a chicken, tell them, not a hen. Tell them who it's for and then they won't mess around."

"All right," I say. I don't smile. Why tempt her to friendship?

3

I go out by the back door, into the garden, which is large and tidy: a lawn in the middle, a willow, weeping catkins; around the edges, the flower borders, in which the daffodils are now fading and the tulips are opening their cups, spilling out color. The tulips are red, a darker crimson towards the stem, as if they have been cut and are beginning to heal there.

This garden is the domain of the Commander's Wife. Looking out through my shatterproof window I've often seen her in it, her knees on a cushion, a light blue veil thrown over her wide gardening hat, a basket at her side with shears in it and pieces of string for tying the flowers into place. A Guardian detailed to the Commander does the heavy digging; the Commander's Wife directs, pointing with her stick. Many of the Wives have such gardens, it's something for them to order and maintain and care for.

I once had a garden. I can remember the smell of the turned earth, the plump shapes of bulbs held in the hands, fullness, the dry rustle of seeds through the fingers. Time could pass more swiftly that way. Sometimes the Commander's Wife has a chair brought out, and just sits in it, in her garden. From a distance it looks like peace.

She isn't here now, and I start to wonder where she is: I don't like to come upon the Commander's Wife unexpectedly. Perhaps she's sewing, in the sitting room, with her left foot on the footstool, because of her arthritis. Or knitting scarves, for the Angels at the front lines. I can hardly believe the Angels have a need for such scarves; anyway, the ones made by the Commander's Wife are too elaborate. She doesn't bother with the cross-and-star pattern used by many of the other Wives, it's not a challenge. Fir trees march across the ends of her scarves, or eagles, or stiff humanoid figures, boy and girl, boy and girl. They aren't scarves for grown men but for children.

T H E G A R D E N
Who is it tends the Garden,
The Garden oh so green?

’Twas once the finest Garden
That ever has been seen.

And in it God’s dear Creatures
Did swim and fly and play;

But then came greedy Spoilers,
And killed them all away.

And all the Trees that flourished
And gave us wholesome fruit,

By waves of sand are buried,
Both leaf and branch and root.

And all the shining Water
Is turned to slime and mire,

And all the feathered Birds so bright
Have ceased their joyful choir.

Oh Garden, oh my Garden,
I’ll mourn forevermore

Until the Gardeners arise,
And you to Life restore.

From The God’s Gardeners Oral Hymnbook
1
TOBY

YEAR TWENTY- FIVE, THE YEAR OF THE FLOOD

In the early morning Toby climbs up to the rooftop to watch the sunrise. She uses a mop handle for balance: the elevator stopped working some time ago and the back stairs are slick with damp, so if she slips and topples there won’t be anyone to pick her up.

As the first heat hits, mist rises from among the swath of trees between her and the derelict city. The air smells faintly of burning, a smell of caramel and tar and rancid barbecues, and the ashy but greasy smell of a garbage-dump fire after it’s been raining. The abandoned towers in the distance are like the coral of an ancient reef — bleached and colourless, devoid of life.

There still is life, however. Birds chirp; sparrows, they must be. Their small voices are clear and sharp, nails on glass: there’s no longer any sound of traffic to drown them out. Do they notice that quietness, the absence of motors? If so, are they happier? Toby has no idea. Unlike some of the other Gardeners — the more wild-eyed or possibly overdosed ones — she has never been under the illusion that she can converse with birds.

The sun brightens in the east, reddening the blue-grey haze that marks the distant ocean. The vultures roosting on hydro poles fan out their wings to dry them, opening themselves like black umbrellas. One and then another lifts off on the thermals and spirals upwards. If they plummet suddenly, it means they’ve spotted carrion.
Vultures are our friends, the Gardeners used to teach. They purify the earth. They are God’s necessary dark Angels of bodily dissolution. Imagine how terrible it would be if there were no death!
Do I still believe this? Toby wonders.

Everything is different up close.

The rooftop has some planters, their ornamentals running wild; it has a few fake-wood benches. It used to have a sun canopy for cocktail hour, but that’s been blown away. Toby sits on one of the benches to survey the grounds. She lifts her binoculars, scanning from left to right. The driveway, with its lumirose borders, untidy now as frayed hair-brushes, their purple glow fading in the strengthening light. The western entrance, done in pink adobe-style solarskin, the snarl of tangled cars outside the gate.

The flower beds, choked with sow thistle and burdock, enormous aqua kudzu moths fluttering above them. The fountains, their scallop-shell basins filled with stagnant rainwater. The parking lot with a pink golf cart and two pink AnooYoo Spa minivans, each with its winking-eye logo. There’s a fourth minivan farther along the drive, crashed into a tree: there used to be an arm hanging out of the window, but it’s gone now.

The wide lawns have grown up, tall weeds. There are low irregular mounds beneath the milkweed and fleabane and sorrel, with here and there a swatch of fabric, a glint of bone. That’s where the people fell, the ones who’d been running or staggering across the lawn. Toby had watched from the roof, crouched behind one of the planters, but she hadn’t watched for long. Some of those people had called for help, as if they’d known she was there. But how could she have helped?

The swimming pool has a mottled blanket of algae. Already there are frogs. The herons and the egrets and the peagrets hunt them, at the shallow end. For a while Toby tried to scoop out the small animals that had blundered in and drowned. The luminous green rabbits, the rats, the rakunks, with their striped tails and racoon bandit masks. But now she leaves them alone. Maybe they’ll generate fish, somehow. When the pool is more like a swamp.

Is she thinking of eating these theoretical future fish? Surely not.

Surely not yet.

She turns to the dark encircling wall of trees and vines and fronds and shrubby undergrowth, probing it with her binoculars. It’s from there that any danger might come. But what kind of danger? She can’t imagine.

In the night there are the usual noises: the faraway barking of dogs, the tittering of mice, the water-pipe notes of the crickets, the occasional grumph of a frog. The blood rushing in her ears: katoush, katoush, katoush. A heavy broom sweeping dry leaves.

“Go to sleep,” she says out loud. But she never sleeps well, not since she’s been alone in this building. Sometimes she hears voices — human voices, calling to her in pain. Or the voices of women, the women who used to work here, the anxious women who used to come, for rest and rejuvenation. Splashing in the pool, strolling on the lawns. All the pink voices, soothed and soothing.

Or the voices of the Gardeners, murmuring or singing; or the children laughing together, up on the Edencliff Garden. Adam One, and Nuala, and Burt. Old Pilar, surrounded by her bees. And Zeb. If any one of them is still alive, it must be Zeb: any day now he’ll come walking along the roadway or appear from among the trees.

But he must be dead by now. It’s better to think so. Not to waste hope.

There must be someone else left, though; she can’t be the only one on the planet. There must be others. But friends or foes? If she sees one, how to tell?

She’s prepared. The doors are locked, the windows barred. But even such barriers are no guarantee: every hollow space invites invasion.

Even when she sleeps, she’s listening, as animals do — for a break in the pattern, for an unknown sound, for a silence opening like a crack in rock.

When the small creatures hush their singing, said Adam One, it’s because they’re afraid. You must listen for the sound of their fear.

2
REN

YEAR TWENTY- FIVE, THE YEAR OF THE FLOOD
Beware of words. Be careful what you write. Leave no trails.

This is what the Gardeners taught us, when I was a child among them. They told us to depend on memory, because nothing written down could be relied on. The Spirit travels from mouth to mouth, not from thing to thing: books could be burnt, paper crumble away, computers could be destroyed. Only the Spirit lives forever, and the Spirit isn’t a thing.

As for writing, it was dangerous, said the Adams and the Eves, because your enemies could trace you through it, and hunt you down, and use your words to condemn you.

But now that the Waterless Flood has swept over us, any writing I might do is safe enough, because those who would have used it against me are most likely dead. So I can write down anything I want.

What I write is my name, Ren, with an eyebrow pencil, on the wall beside the mirror. I’ve written it a lot of times. Renrenren, like a song. You can forget who you are if you’re alone too much. Amanda told me that.

I can’t see out the window, it’s glass brick. I can’t get out the door, it’s locked on the outside. I still have air though, and water, as long as the solar doesn’t quit. I still have food.

I’m lucky. I’m really very lucky. Count your luck, Amanda used to say. So I do. First, I was lucky to be working here at Scales when the Flood hit. Second, it was even luckier that I was shut up this way in the Sticky Zone, because it kept me safe. I got a rip in my Biofilm Bodyglove — a client got carried away and bit me, right through the green sequins — and I was waiting for my test results. It wasn’t a wet rip with secretions and membranes involved, it was a dry rip near the elbow, so I wasn’t that worried. Still, they checked everything, here at Scales. They had a reputation to keep up: we were known as the cleanest dirty girls in town.

Scales and Tails took care of you, they really did. If you were talent, that is. Good food, a doctor if you needed one, and the tips were great, because the men from the top Corps came here. It was well run, though it was in a seedy area — all the clubs were. That was a matter of image, Mordis would say: seedy was good for business, because unless there’s an edge — something lurid or tawdry, a whiff of sleaze — what separated our brand from the run-of-the-mill product the guy could get at home, with the face cream and the white cotton panties?

Mordis believed in plain speaking. He’d been in the business ever since he was a kid, and when they outlawed the pimps and the street trade — for public health and the safety of women, they said — and rolled everything into SeksMart under CorpSeCorps control, Mordis made the jump, because of his experience. “It’s who you know,” he used to say. “And what you know about them.” Then he’d grin and pat you on the bum — just a friendly pat though, he never took freebies from us. He had ethics.

He was a wiry guy with a shaved head and black, shiny, alert eyes like the heads of ants, and he was easy as long as everything was cool. But he’d stand up for us if the clients got violent. “Nobody hurts my best girls,” he’d say. It was a point of honour with him.

Also he didn’t like waste: we were a valuable asset, he’d say. The cream of the crop. After the SeksMart roll-in, anyone left outside the system was not only illegal but pathetic. A few wrecked, diseased old women wandering the alleyways, practically begging. No man with even a fraction of his brain left would go anywhere near them. “Hazardous waste,” we Scales girls used to call them. We shouldn’t have been so scornful; we should have had compassion. But compassion takes work, and we were young.

That night when the Waterless Flood began, I was waiting for my test results: they kept you locked in the Sticky Zone for weeks, in case you had something contagious. The food came in through the safety-sealed hatchway, plus there was the minifridge with snacks, and the water was filtered, coming in and out both. You had everything you needed, but it got boring in there. You could exercise on the machines, and I did a lot of that, because a trapeze dancer needs to keep in practice.

You could watch TV or old movies, play your music, talk on the phone. Or you could visit the other rooms in Scales on the intercom videoscreens. Sometimes when we were doing plank work we’d wink at the cameras in mid-moan for the benefit of whoever was stuck in the Sticky Zone. We knew where the cameras were hidden, in the snakeskin or featherwork on the ceilings. It was one big family, at Scales, so even when you were in the Sticky Zone, Mordis liked you to pretend you were still participating.

Mordis made me feel so secure. I knew if I was in big trouble I could go to him. There were only a few people in my life like that. Amanda, most of the time. Zeb, sometimes. And Toby. You wouldn’t think it would be Toby — she was so tough and hard — but if you’re drowning, a soft squashy thing is no good to hold on to. You need something more solid.

Mrs. Rachel Lynde lived just where the Avonlea main road dipped down into a little hollow, fringed with alders and ladies' eardrops and traversed by a brook that had its source away back in the woods of the old Cuthbert place; it was reputed to be an intricate, headlong brook in its earlier course through those woods, with dark secrets of pool and cascade; but by the time it reached Lynde's Hollow it was a quiet, well-conducted little stream, for not even a brook could run past Mrs. Rachel Lynde's door without due regard for decency and decorum; it probably was conscious that Mrs. Rachel was sitting at her window, keeping a sharp eye on everything that passed, from brooks and children up, and that if she noticed anything odd or out of place she would never rest until she had ferreted out the whys and wherefores thereof.

There are plenty of people, in Avonlea and out of it, who can attend closely to their neighbors business by dint of neglecting their own; but Mrs. Rachel Lynde was one of those capable creatures who can manage their own concerns and those of other folks into the bargain. She was a notable housewife; her work was always done and well done; she "ran" the Sewing Circle, helped run the Sunday-school, and was the strongest prop of the, Church Aid Society and Foreign Missions Auxiliary. Yet with all this Mrs. Rachel found abundant time to sit for hours at her kitchen window, knitting "cotton warp" quilts--she had, knitted sixteen of them, as Avonlea housekeepers were wont to tell in awed voices-and keeping a sharp eye on the main road that crossed the hollow and wound up the steep red hill beyond. Since Avonlea occupied a little triangular peninsula jutting out into the Gulf of St. Lawrence, with water on two sides of it, anybody who went out of it or into it had to pass over that hill road and so run the unseen gauntlet of Mrs. Rachel's all-seeing eye.

She was sitting there one afternoon in early June. The sun was coming in at the window warm and bright; the orchard on the slope below the house was in a bridal flush of pinky-white bloom, hummed over by a myriad of bees. Thomas Lynde-a meek little man whom Avonlea people called "Rachel Lynde's husband"-was sowing his late turnip seed on the hill field beyond the barn; and Matthew Cuthbert ought to have been sowing his on the big red brook field away over by Green Gables. Mrs. Rachel knew that he ought because she had heard him tell Peter Morrison the evening before in William J. Blaire's store over at Carmody that he meant to sow his turnip seed the next afternoon. Peter had asked him, of course, for Matthew Cuthbert had never been known to volunteer information about anything in his whole life.

And yet here was Matthew Cuthbert, at half-past three on the afternoon of a busy day, placidly driving over the hollow and up the hill; moreover, he wore a white collar and his best suit of clothes, which was plain proof that he was going out of Avonlea; and he had the buggy and the sorrel mare, which betokened that he was going a considerable distance. Now, where was Matthew Cuthbert going and why was he going there?

Had it been any other man in Avonlea Mrs. Rachel, deftly putting this and that together, might have given a pretty good guess as to both questions. But Matthew so rarely went from home that it must be something pressing and unusual which was taking him; he was the shyest man alive and hated to have to go among strangers or to any place where he might have to talk. Matthew, dressed up with a white collar and driving in a buggy, was something that didn't happen often. Mrs. Rachel, ponder as she might, could make nothing of it and her afternoo's enjoyment was spoiled.

"I'll just step over to Green Gables after tea and find out from Marilla where he's gone and why," the worthy woman finally concluded. "He doesn't generally go to town this time of year and he new visits; if he'd run out of turnip seed he wouldn't dress up and take the buggy to go for more; he wasn't driving fast enough to be going for the doctor. Yet something must have happened since List night to start him off. I'm clean puzzled, that's what, and I won't know a minute's peace of mind or conscience until I know what has taken Matthew Cuthbert out of Avonlea today-"

Accordingly after tea Mrs. Rachel set out; she had not far to go; the big, rambling orchard-embowered house where the Cuthberts lived was a scant quarter of a mile up the road from Lynde's Hollow. To be sure, the long lane made it a good deal further. Matthew Cuthberfs father, as shy and silent as his son after him, had got as far away as he possibly could from his fellow men without actually retreating into the woods when he founded his homestead. Green Gables was built at the furthest edge of his cleared land and there it was to this day, barely visible from the main road along which all the other Avonlea houses were so sociably situated. Mrs. Rachel Lynde did not call living in such a place living at all.

1. It's just staying, that's what," she said as she stepped along the deep-rutted, grassy lane bordered with wild rose bushes. "Ifs no wonder Matthew and Marilia are both a little odd, living away back here by themselves. Trees aren't much company, though dear knows if they were there'd be enough of them. I'd ruther look at people. To be sure, they seem contented enough; but then, I suppose, they're used to it. A body can get used to anything even to being hanged, as the Irishman said."

CHAPTER 1: CHILDHOOD
Charles Stuart Pachter was born prematurely at Toronto General Hospital on the night of December 30, 1942, during the Second World War. Charles has an older sister, Maida, born on April 13, 1941; a younger sister, Karen, born on November 20, 1946; as well as a younger brother, David, born on August 20, 1948.
Charles’s name was an anglicized version of both of his deceased grandfathers’ names. One reason his parents may have decided on an English name was in honour of Bonnie Prince Charlie; another was because they thought Hitler might make it to Toronto. It was, after all, 1942, the year Jews were being deported to Auschwitz. Whatever the reason, the name stuck. The family has always referred to him, and continues to refer to him, as Charles; although, most of his friends have called him Charlie since high school.
Both of his grandfathers died in their fifties before he was born, but Charles was told that his maternal grandfather was scholarly, rebellious, and determinedly anti-religious — traits that Charles cherishes.
His grandmothers were feisty characters — hardworking, funny, and the source of much mirth with their broken English, picturesque phrases, and old country sensibilities. One winter, for example, his maternal grandmother, Eva, announced matter-of-factly, that the unseasonably warm weather was due to “a general toe.” After some linguistic sleuthing, the family determined what she meant was “a January thaw.” Another time, she came home from selling her wares in Port Credit and asked her kids what a “bleddehyoo” was. Wondering what she meant, they asked her to explain. She told them she had sold a black half-slip to a woman whose husband had come home drunk, and called her “a bloody whore.”
Charles’s parents, Sara and Harry Pachter, were both Canadian-born and grew up in Toronto during the Depression.
When one of Sara’s brothers died of tuberculosis in 1922, the family moved from Edmonton, where they had been living, to Toronto where a cousin had a shoe repair shop on Queen Street East. Sara’s father opened a cobbler’s shop at 768 Yonge Street, which later became the Loew’s Uptown Theatre, now long gone. Her mother, widowed at thirty-five with four children, became a door-to-door peddler of dry goods that she bought wholesale on Spadina Avenue and sold in Port Credit.
Harry was born on March 11, 1914, on Peter Street in downtown Toronto, just north of the present-day Rogers Centre. He attended Sir Charles G.D. Fraser School.
A cousin introduced Sara and Harry at a party in Toronto in 1936. They were married in January 1937. After their marriage they eventually moved to a flat at 499 Palmerston Boulevard, where Charles was born.
His parents weren’t particularly religious, and the house where he grew up, at 84 Chudleigh Avenue in north Toronto, was in a neighbourhood inhabited mostly by middle-class Anglicans. His childhood playmates were well-brought-up little WASP and Catholic boys and girls, with names like Johnny, Gail, Betty, and Jeannie.
Johnny Macfarlane, who would grow up to be John Macfarlane — the respected magazine and book publisher — was Charles’s next-door neighbour. Macfarlane lived there with his divorced mom and his grandmother, who, thinking she was a coloratura soprano, spent humid summer afternoons at her piano practising operatic scales. Johnny and Charles, both four at the time, used to stand outside under her window howling like little coyotes whenever she sang a scale, then they would collapse laughing until she poured a bucket of water over their heads to shoo them away.
“Charles was my favourite of all the kids I knew then,” recalled John.
Charles didn’t really grasp what being Jewish meant until he turned six, according to his long-time friend, Margaret Atwood. When he was four, his babysitter, Mrs. Rupert, a Baptist holy roller, taught him to pray and roll at the same time while chanting, “Now I lay me down to sleep, I pray the Lord my soul to keep. If I die before I wake, I pray the Lord my soul to take.” Not your typical Jewish prayer!
On Sunday evenings, after supper of peanut-butter-and-bacon sandwiches on brown bread at Johnny’s house next door, the two of them usually went to the basement of the local Catholic church to watch flickering black-and-white “Prince of Peace” movies, starring Jesus, dressed in a long white nightie with rope belt and sandals, his stringy hair parted down the middle, his aquiline nose highlighted by makeup. The kids would also sneak into the church where there were niches with statues of the Virgin Mary and the Annunciation. On the floor of the basement were little blue and red plastic chips, which they collected. For years Charles thought bingo was a Catholic ritual.
To this day he can still remember being bullied by a bunch of bigger kids when he was four and locked under Lawrence Park Collegiate stadium where concrete bleachers were being built. He will never forget the smell of the curing concrete, straw and mud, and the echo of dripping water in the pitch-black as he waited, terrified, to be rescued. Another time when he bragged to the other kids that Jesus was Jewish, he got beaten up and called “a dirty Jew.” He asked another babysitter, Mrs. Decker, if he was “a dirty Jew,” and she replied in her thick Scottish accent, “I wouldn’t know, dear, I’m not Jooweesh.”
One day he came home and asked his parents, “Why don’t we have a picture of the Baby Jesus in our house like all the other kids?” Another time he came home with a Gideon Bible he had signed in school, confessing that he was “a sinner in the eyes of Jesus Christ, our Lord.” On each occasion Sara looked at her husband and said, “Harry, say something!”
Feeling they should help their kids discover their Jewish identity, Harry and Sara decided to enrol five-year-old Charles and his older sister Maida in religious school at the Holy Blossom Temple because, as his father later admitted, theirs was the cheapest membership fee of the new synagogues being built in the then-suburbs around Eglinton and Bathurst. After being “consecrated,” Charles came home with drawings he had done of Jonah and the whale and Elijah riding a flaming chariot. In fact, Charles’s artistic inclinations were evident from the time he was a baby. One night when his parents returned home from a movie, they found his distraught babysitter cleaning the wall beside his crib. Charles had gleefully used the contents of his diaper to create his first mural.