The Handmaid’s Tale

31

Every night when I go to bed I think, In the morning I will wake up in my own house and things will be back the way they were. It hasn't happened this morning, either.

I put on my clothes, summer clothes, it's still summer; it seems to have stopped at summer. July, its breathless days and sauna nights, hard to sleep. I make a point of keeping track. I should scratch marks on the wall, one for each day of the week, and run a line through them when I have seven. But what would be the use, this isn't a jail sentence; there's no time here that can be done and finished with. Anyway, all I have to do is ask, to find out what day it is. Yesterday was July the fourth, which used to be Independence Day, before they abolished it. September first will be Labor Day, they still have that. Though it didn't used to have anything to do with mothers.

But I tell time by the moon. Lunar, not solar.

I bend over to do up my red shoes; lighter weight these days, with discreet slits cut in them, though nothing so daring as sandals. It's an effort to stoop; despite the exercises, I can feel my body gradually seizing up, refusing. Being a woman this way is how I used to imagine it would be to be very old. I feel I even walk like that: crouched over, my spine constricting to a question mark, my bones leached of calcium and porous as limestone. When I was younger, imagining age, I would think, Maybe you appreciate things more when you don't have much time left. I forgot to include the loss of energy. Some days I do appreciate things more, eggs, flowers, but then I decide I'm only having an attack of sentimentality, my brain going pastel Technicolor, like the beautiful-sunset greeting cards they used to make so many of in California. High-gloss hearts. The danger is gray out.

I'd like to have Luke here, in this bedroom while I'm getting dressed, so I could have a fight with him. Absurd, but that's what I want. An argument, about who should put the dishes in the dishwasher, whose turn it is to sort the laundry, clean the toilet; something daily and unimportant in the big scheme of things. We could even have a fight about that, about unimportant, important. What a luxury it would be. Not that we did it much. These days I script whole fights, in my head, and the reconciliations afterwards too.

I sit in my chair, the wreath on the ceiling floating above my head, like a frozen halo, a zero. A hole in space where a star exploded. A ring, on water, where a stone's been thrown. All things white and circular. I wait for the day to unroll, for the earth to turn, according to the round face of the implacable clock. The geometrical days, which go around and around, smoothly and oiled. Sweat already on my upper lip, I wait, for the arrival of the inevitable egg, which will be lukewarm like the room and will have a green film on the yolk and will taste faintly of sulphur.

Today, later, with Ofglen, on our shopping walk:

We go to the church, as usual, and look at the graves. Then to the Wall. Only two hanging on it today: one Catholic, not a priest though, placarded with an upside-down cross, and some other sect I don't recognize. The body is marked only with a J, in red. It doesn't mean Jewish, those would be yellow stars. Anyway there haven't been many of them. Because they were declared Sons of Jacob and therefore special, they were given a choice. They could convert, or emigrate to Israel. A lot of them emigrated, if you can believe the news. I saw a boatload of them, on the TV, leaning over the railings in their black coats and hats and their long beards, trying to look as Jewish as possible, in costumes fished up from the past, the women with shawls over their heads, smiling and waving, a little stiffly it's true, as if they were posing; and another shot, of the richer ones, lining up for the planes. Ofglen says some other people got out that way, by pretending to be Jewish, but it wasn't easy because of the tests they gave you and they've tightened up on that now.

You don't get hanged only for being a Jew though. You get hanged for being a noisy Jew who won't make the choice. Or for pretending to convert. That's been on the TV too: raids at night, secret hoards of Jewish things dragged out from under beds, torahs, tal-liths, Magen Davids. And the owners of them, sullen faced, unrepentant, pushed by the Eyes against the walls of their bedrooms, while the sorrowful voice of the announcer tells us voice-over about their perfidy and ungratefulness.

So the J isn't for Jew. What could it be? Jehovah's Witness? Jesuit? Whatever it meant, he's just as dead.

After this ritual viewing we continue on our way, heading as usual for some open space we can cross, so we can talk. If you can call it talking, these clipped whispers, projected through the funnels of our white wings. It's more like a telegram, a verbal semaphore. Amputated speech.

We can never stand long in any one place. We don't want to be picked up for loitering.

Today we turn in the opposite direction from Soul Scrolls, to where there's an open park of sorts, with a large old building on it; ornate late Victorian, with stained glass. It used to be called Memorial Hall, though I never knew what it was a memorial for. Dead people of some kind.

Moira told me once that it used to be where the undergraduates ale, in the earlier days of the university. If a woman went in there, they'd throw buns at her, she said.

Why? I said. Moira became, over the years, increasingly versed in such anecdotes. I didn't much like it, this grudge-holding against the past.

To make her go out, said Moira.

Maybe it was more like throwing peanuts at elephants, I said. Moira laughed; she could always do that. Exotic monsters, she said.

We stand looking at this building, which is in shape more or less like a church, a cathedral. Ofglen says, "I hear that's where the Eyes hold their banquets."

"Who told you?" I say. There's no one near, we can speak more freely, but out of habit we keep our voices low.

"The grapevine," she says. She pauses, looks sideways at me, I can sense the blur of white as her wings move. "There's a password," she says.

"A password?" I ask. "What for?"

"So you can tell," she says. "Who is and who isn't."

Although I can't see what use it is for me to know, I ask, "What is it then?"

"Mayday," she says. "I tried it on you once."

"Mayday," I repeat. I remember that day. M'aidez.

"Don't use it unless you have to," says Ofglen. "It isn't good for us to know about too many of the others, in the network. In case you get caught."

I find it hard to believe in these whisperings, these revelations, though I always do at the time. Afterwards, though, they seem improbable, childish even, like something you'd do for fun; like a girls' club, like secrets at school. Or like the spy novels I used to read, on weekends, when I should have been finishing my homework, or like late-night television. Passwords, things that cannot be told, people with secret identities, dark linkages: this does not seem as if it ought to be the true shape of the world. But that is my own illusion, a hangover from a version of reality I learned in the former time.

And networks. Networking, one of my mother's old phrases, musty slang of yesteryear. Even in her sixties she still did something she called that, though as far as I could see all it meant was having lunch with some other woman.

I leave Ofglen at the corner. "I'll see you later," she says. She glides away along the sidewalk and I go up the walk towards the house. There's Nick, hat askew; today he doesn't even look at me. He must have been waiting around for me though, to deliver his silenl message, because as soon as he knows I've seen him he gives the Whirlwind one last swipe with the chamois and walks briskly off towards the garage door.

I walk along the gravel, between the slabs of ovcrgreen lawn. Serena Joy is sitting under the willow tree, in her chair, cane propped at her elbow. Her dress is crisp cool cotton. For her it's blue, wa-tercolor, not this red of mine that sucks in heat and blazes with it at the same time. Her profile's towards me, she's knitting. How can she bear to touch the wool, in this heat? But possibly her skin's gone numb; possibly she feels nothing, like one formerly scalded.

I lower my eyes to the path, glide by her, hoping to be invisible, knowing I'll be ignored. But not this time.

"Offred," she says.

I pause, uncertain.

"Yes, you."

I turn towards her my blinkered sight.

"Come over here. I want you."

I walk over the grass and stand before her, looking down.

"You can sit," she says. "Here, take the cushion. I need you to hold this wool." She's got a cigarette, the ashtray's on the lawn beside her, and a cup of something, tea or coffee. "It's too damn close in there. You need a little air," she says. I sit, putting down my basket, strawberries again, chicken again, and I note the swear word: something new. She fits the skein of wool over my two outstretched hands, starts winding. I am leashed, it looks like, manacled; cobwebbed, that's closer. The wool is gray and has absorbed moisture from the air, it's like a wetted baby blanket and smells faintly of damp sheep. At least my hands will get lanolined.

Serena winds, the cigarette held in the corner of her mouth smoldering, sending out tempting smoke. She winds slowly and with difficulty because of her gradually crippling hands, but with determination. Perhaps the knitting, for her, involves a kind of willpower; maybe it even hurts. Maybe it's been medically prescribed: ten rows a day of plain, ten of purl. Though she must do more than that. I see those evergreen trees and geometric boys and girls in a different light: evidence of her stubbornness, and not altogether despicable.

My mother did not knit or anything like that. But whenever she would bring things back from the cleaner's, her good blouses, winter coats, she'd save up the safety pins and make them into a chain. Then she'd pin the chain somewhere-her bed, the pillow, a chair back, the oven mitt in the kitchen-so she wouldn't lose them. Then she'd forget about them. I would come upon them, here and there in the house, the houses; tracks of her presence, remnants of some lost intention, like signs on a road that turns out to lead no-where. Throwbacks to domesticity.

"Well then," Serena says. She stops winding, leaving me with my hands still garlanded with animal hair, and takes the cigarette end from her mouth to butt it out. "Nothing yet?"

I know what she's talking about. There are not that many subjects that could be spoken about, between us; there's not much common ground, except this one mysterious and chancy thing.

"No," I say. "Nothing."

"Too bad," she says. It's hard to imagine her with a baby. But the Marthas would take care of it mostly. She'd like me pregnant though, over and done with and out of the way, no more humiliating sweaty tangles, no more flesh triangles under her starry canopy of silver flowers. Peace and quiet. I can't imagine she'd want such good luck, for me, for any other reason.

"Your time's running out," she says. Not a question, a matter of fact.

"Yes," I say neutrally.

She's lighting another cigarette, fumbling with the lighter. Definitely her hands are getting worse. But it would be a mistake to offer to do it for her, she'd be offended. A mistake to notice weakness in her.

"Maybe he can't," she says.

I don't know who she means. Does she mean the Commander, or God? If it's God, she should say won't. Either way it's heresy. It's only women who can't, who remain stubbornly closed, damaged, defective.

"No," I say. "Maybe he can't."

I look up at her. She looks down. It's the first time we've looked into each other's eyes in a long time. Since we met. The moment stretches out between us, bleak and level. She's trying to see whether or not I'm up to reality.

"Maybe," she says, holding the cigarette, which she has failed to light. "Maybe you should try it another way."

Does she mean on all fours? "What other way?" I say. I must keep serious.

"Another man," she says.

"You know I can't," I say, careful not to let my irritation show. "It's against the law. You know the penalty."

"Yes," she says. She's ready for this, she's thought it through. "I know you can't officially. But it's done. Women do it frequently. All the time."

"With doctors, you mean?" I say, remembering the sympathetic brown eyes, the gloveless hand. The last time I went it was a different doctor. Maybe someone caught him out, or a woman reported him. Not that they'd take her word, without evidence.

"Some do that," she says, her tone almost affable now, though distanced; it's as if we're considering a choice of nail polish. "That's how Ofwarren did it. The Wife knew, of course." She pauses to let this sink in. "I would help you. I would make sure nothing went wrong."

I think about this. "Not with a doctor," I say.

"No," she agrees, and for this moment at least we are cronies, this could be a kitchen table, it could be a date we're discussing, some girlish stratagem of ploys and flirtation. "Sometimes they blackmail. But it doesn't have to be a doctor. It could be someone we trust."

"Who?" I say.

"I was thinking of Nick," she says, and her voice is almost soft. "He's been with us a long time. He's loyal. I could fix it with him."

So that's who does her little black-market errands for her. Is this what he always gets, in return?

"What about the Commander?" I say.

"Well," she says, with firmness; no, more than that, a clenched look, like a purse snapping shut. "We just won't tell him, will we?"

This idea hangs between us, almost visible, almost palpable: heavy, formless, dark; collusion of a sort, betrayal of a sort. She does want that baby.

"It's a risk," I say. "More than that." It's my life on the line; but that's where it will be sooner or later, one way or another, whether I do or don't. We both know this.

"You might as well," she says. Which is what I think too.

"All right," I say. "Yes."

She leans forward. "Maybe I could get something for you," she says. Because I have been good. "Something you want," she adds, wheedling almost.

"What's that?" I say. I can't think of anything I truly want that she'd be likely or able to give me.

"A picture," she says, as if offering me some juvenile treat, an ice cream, a trip to the zoo. I look up at her again, puzzled.

"Of her," she says. "Your little girl. But only maybe."

She knows where they've put her then, where they're keeping her. She's known all along. Something chokes in my throat. The bitch, not to tell me, bring me news, any news at all. Not even to let on. She's made of wood, or iron, she can't imagine. But I can't say this, I can't lose sight, even of so small a thing. I can't let go of this hope. I can't speak.

She's actually smiling, coquettishly even; there's a hint of her former small-screen mannequin's allure, flickering over her face like momentary static. "It's too damn hot for this, don't you think?" she says. She lifts the wool from my two hands, where I have been holding it all this time. Then she takes the cigarette she's been fiddling with and, a little awkwardly, presses it into my hand, closing my fingers around it. "Find yourself a match," she says. "They're in the kitchen, you can ask Rita for one. You can tell her I said so. Only the one though," she adds roguishly. "We don't want to ruin your health!"

32

Rita's sitting at the kitchen table. There's a glass bowl with ice cubes floating in it on the table in front of her. Radishes made into flowers, roses or tulips, bob in it. On the chopping board in front of her she's cutting more, with a paring knife, her large hands deft, indifferent. The rest of her body does not move, nor does her face. It's as if she's doing it in her sleep, this knife trick. On the white enamel surface is a pile of radishes, washed but uncut. Little Aztec hearts.

She hardly bothers to look up as I enter. "You got it all, huh," is what she says, as I take the parcels out for her inspection.

"Could I have a match?" I ask her. Surprising how much like a small, begging child she makes me feel, simply by her scowl, her stolidity; how importunate and whiny.

"Matches?" she says. "What do you want matches for?"

"She said I could have one," I say, not wanting to admit to the cigarette.

"Who said?" She continues with the radishes, her rhythm unbroken. "No call for you to have matches. Burn the house down."

"You can go and ask her if you like," I say. "She's out on the lawn."

Rita rolls her eyes to the ceiling, as if consulting silently some deity there. Then she sighs, rises heavily, and wipes her hands with ostentation on her apron, to show me how much trouble I am. She goes to the cupboard over the sink, taking her time, locates her key bunch in her pocket, unlocks the cupboard door. "Keep 'em in here, summer," she says as if to herself. "No call for a fire in this weather." I remember from April that it's Cora who lights the fires, in the sitting room and the dining room, in cooler weather.

The matches are wooden ones, in a cardboard sliding-top box, the kind I used to covet in order to make dolls' drawers out of them. She opens the box, peers into it, as if deciding which one she'll let me have. "Her own business," she mutters. "No way you can tell her a thing." She plunges her big hand down, selects a match, hands it over to me. "Now don't you go setting fire to nothing," she says. "Not them curtains in your room. Too hot the way it is."

"I won't," I say. "That's not what it's for."

She does not deign to ask me what it is for. "Don't care if you eat it, or what," she says. "She said you could have one, so I give you one, is all."

She turns away from me and sits again at the table. Then she picks an ice cube out of the bowl and pops it into her mouth. This is an unusual thing for her to do. I've never seen her nibble while working. "You can have one of them too," she says. "A shame, making you wear all them pillowcases on your head, in this weather."

I am surprised: she doesn't usually offer me anything. Maybe she feels that if I've risen in status enough to be given a match, she can afford her own small gesture. Have I become, suddenly, one of those who must be appeased?

"Thank you," I say. I transfer the match carefully to my zip-pered sleeve where the cigarette is, so it won't get wet, and take an ice cube. "Those radishes are pretty," I say, in return for the gift she's made me, of her own free will.

"I like to do things right, is all," she says, grumpy again. "No sense otherwise."

I go along the passage, up the stairs, hurrying. In the curved hallway mirror I flit past, a red shape at the edge of my own field of vision, a wraith of red smoke. I have smoke on my mind all fight, already I can feel it in my mouth, drawn down into the lungs, filling me in a long rich dirty cinnamon sigh, and then the rush as the nicotine hits the bloodstream.

After all this time it could make me sick. I wouldn't be surprised. But even that thought is welcome.

Along the corridor I go, where should I do it? In the bathroom, running the water to clear the air, in the bedroom, wheezy puffs out the open window? Who's to catch me at it? Who knows?

Even as I luxuriate in the future this way, rolling anticipation around in my mouth, I think of something else.

I don't need to smoke this cigarette.

I could shred it up and flush it down the toilet. Or I could eat it and get the high that way, that can work too, a little at a time, save up the rest.

That way I could keep the match. I could make a small hole, in the mattress, slide it carefully in. Such a thin thing would never be noticed. There it would be, at night, under me while I'm in bed. Sleeping on it.

I could burn the house down. Such a fine thought, it makes me shiver.

An escape, quick and narrow.

I lie on my bed, pretending to nap.

The Commander, last night, fingers together, looking at me as I sat rubbing oily lotion into my hands. Odd, I thought about asking him for a cigarette, but decided against it. I know enough not to ask for too much at once. I don't want him to think I'm using him. Also I don't want to interrupt him.

Last night he had a drink, Scotch and water. He's taken to drinking in my presence, to unwind after the day, he says. I'm to gather he is under pressure. He never offers me any, though, and I don't ask: we both know what my body is for. When I kiss him goodnight, as if I mean it, his breath smells of alcohol, and I breathe it in like smoke. I admit I relish it, this lick of dissipation.

Sometimes after a few drinks he becomes silly, and cheats at Scrabble. He encourages me to do it too, and we take extra letters and make words with them that don't exist, words like smurt and crup, giggling over them. Sometimes he turns on his short-wave radio, displaying before me a minute or two of Radio Free America, to show me he can. Then he turns it off again. Damn Cubans, he says. All that filth about universal daycare.

Sometimes, after the games, he sits on the floor beside my chair, holding my hand. His head is a little below mine, so that when he looks up at me it's at a juvenile angle. It must amuse him, this fake subservience.

He's way up there, says Ofglen. He's at the top, and I mean the very top. At such times it's hard to imagine it.

Occasionally I try to put myself in his position. I do this as a tactic, to guess in advance how he may be moved to behave towards me. It's difficult for me to believe I have power over him, of any sort, but I do; although it's of an equivocal kind. Once in a while I think I can see myself, though blurrily, as he may see me. There are things he wants to prove to me, gifts he wants to bestow, services he wants to render, tendernesses he wants to inspire.

He wants, all right. Especially after a few drinks.

Sometimes he becomes querulous, at other times philosophical; or he wishes to explain things, justify himself. As last night.

The problem wasn't only with the women, he says. The main problem was with the men. There was nothing for them anymore.

Nothing? I say. But they had…

There was nothing for them to do, he says.

They could make money, I say, a little nastily. Right now I'm not afraid of him. It's hard to be afraid of a man who is sitting watching you put on hand lotion. This lack of fear is dangerous.

It's not enough, he says. It's too abstract. I mean there was nothing for them to do with women.

What do you mean? I say. What about all the Pornycorners, it was all over the place, they even had it motorized.

I'm not talking about sex, he says. That was part of it, the sex was too easy. Anyone could just buy it. There was nothing to work for, nothing to fight for. We have the stats from that time. You know what they were complaining about the most? Inability to feel. Men were turning off on sex, even. They were turning off on marriage.

Do they feel now? I say.

Yes, he says, looking at me. They do. He stands up, comes around the desk to the chair where I'm sitting. He puts his hands on my shoulders, from behind. I can't see him.

I like to know what you think, his voice says, from behind me.

I don't think a lot, I say lightly. What he wants is intimacy, but I can't give him that.

There's hardly any point in my thinking, is there? I say. What I think doesn't matter.

Which is the only reason he can tell me things.

Come now, he says, pressing a little with his hands. I'm interested in your opinion. You're intelligent enough, you must have an opinion.

About what? I say.

What we've done, he says. How things have worked out.

I hold myself very still. I try to empty my mind. I think about the sky, at night, when there's no moon. I have no opinion, I say.

He sighs, relaxes his hands, but leaves them on my shoulders. He knows what I think, all right.

You can't make an omelette without breaking eggs, is what he says. We thought we could do better.

Better? I say, in a small voice. How can he think this is better?

Better never means better for everyone, he says. It always means worse, for some.

I lie flat, the damp air above me like a lid. Like earth. I wish it would rain. Better still, a thunderstorm, black clouds, lightning, car-splitting sound. The electricity might go off. I could go down to the kitchen then, say I'm afraid, sit with Rita and Cora around the kitchen table, they would permit my fear because it's one they share, they'd let me in. There would be candles burning, we would watch each other's faces come and go in the flickering, in the white flashes of jagged light from outside the windows. Oh Lord, Cora would say. Oh Lord save us.

The air would be clear after that, and lighter.

I look up at the ceiling, the round circle of plaster flowers. Draw a circle, step into it, it will protect you. From the center was the chandelier, and from the chandelier a twisted strip of sheet was hanging down. That's where she was swinging, just lightly, like a pendulum; the way you could swing as a child, hanging by your hands from a tree branch. She was safe then, protected altogether, by the time Cora opened the door. Sometimes I think she's still in here, with me.

I feel buried.

33

Late afternoon, the sky hazy, the sunlight diffuse but heavy and everywhere, like bronze dust. I glide with Ofglen along the sidewalk; the pair of us, and in front of us another pair, and across the street another. We must look good from a distance: picturesque, like Dutch milkmaids on a wallpaper frieze, like a shelf full of period-costume ceramic salt and pepper shakers, like a flotilla of swans or anything that repeats itself with at least minimum grace and without variation. Soothing to the eye, the eyes, the Eyes, for that's who this show is for. We're off to the Prayvaganza, to demonstrate how obedient and pious we are.

Not a dandelion in sight here, the lawns are picked clean. I long for one, just one, rubbishy and insolently random and hard to get rid of and perennially yellow as the sun. Cheerful and plebeian, shining for all alike. Rings, we would make from them, and crowns and necklaces, stains from the bitter milk on our fingers. Or I'd hold one under her chin: Do you like butter? Smelling them, she'd get pollen on her nose. Or was that buttercups? Or gone to seed: I can see her, running across the lawn, that lawn there just in front of me, at two, three years old, waving one like a sparkler, a small wand of white fire, the air filling with tiny parachutes. Blow, and you tell the time. All that time, blowing away in the summer breeze. It was daisies for love though, and we did that too.

We line up to get processed through the checkpoint, standing in our twos and twos and twos, like a private girls' school that went for a walk and stayed out too long. Years and years too long, so that everything has become overgrown, legs, bodies, dresses all together. As if enchanted. A fairy tale, I'd like to believe. Instead we are checked through, in our twos, and continue walking.

After a while we turn right, heading past Lilies and down towards the river. I wish I could go that far, to where the wide banks are, where we used to lie in the sun, where the bridges arch over. If you went down the river long enough, along its sinewy windings, you'd reach the sea; but what could you do there? Gather shells, loll on the oily stones.

We aren't going to the river though, we won't see the little cupolas on the buildings down that way, white with blue and gold trim, such chaste gaiety. We turn in at a more modern building, a huge banner draped over its door-WOMEN'S PRAYVAGANZA TODAY. The banner covers the building's former name, some dead president they shot. Below the red writing there's a line of smaller print, in black, with the outline of a winged eye on either side of it: God Is a National Resource. On either side of the doorway stand the inevitable Guardians, two pairs, four in all, arms at their sides, eyes front. They're like store mannequins almost, with their neat hair and pressed uniforms and plaster-hard young faces. No pimply ones today. Each has a submachine gun slung ready, for whatever dangerous or subversive acts they think we might commit inside.

The Prayvaganza is to be held in the covered courtyard, where there's an oblong space, a skylight roof. It isn't a citywide Prayvaganza, that would be on the football field; it's only for this district. Ranks of folding wooden chairs have been placed along the right side, for the Wives and daughers of high-ranking officials or officers, there's not that much difference. The galleries above, with their concrete railings, are for the lower-ranking women, the Marthas, the Econowives in their multicolored stripes. Attendance at Prayvaganzas isn't compulsory for them, especially if they're on duty or have young children, but the galleries seem to be filling up anyway. I suppose it's a form of entertainment, like a show or a circus. •

A number of the Wives are already seated, in their best embroi dered blue. We can feel their eyes on us as we walk in our red dresses two by two across to the side opposite them. We are being looked at, assessed, whispered about; we can feel it, like tiny ants running on our bare skins.

Here there are no chairs. Our area is cordoned off with a silky twisted scarlet rope, like the kind they used to have in movie theaters to restrain the customers. This rope segregates us, marks us off, keeps the others from contamination by us, makes for us a corral or pen; so into it we go, arranging ourselves in rows, which we know very well how to do, kneeling then on the cement floor.

"Head for the back," Ofglen murmurs at my side. "We can talk better." And when we are kneeling, heads bowed slightly, I can hear from all around us a susurration, like the rustling of insects in tall dry grass: a cloud of whispers. This is one of the places where we can exchange news more freely, pass it from one to the next. It's hard for them to single out any one of us or hear what's being said. And they wouldn't want to interrupt the ceremony, not in front of the television cameras.

Ofglen digs me in the side with her elbow, to call my attention, and I look up, slowly and stealthily. From where we're kneeling we have a good view of the entrance to the courtyard, where people are steadily coming in. It must be Janine she meant me to see, because there she is, paired with a new woman, not the former one; someone I don't recognize. Janine must have been transferred then, to a new household, a new posting. It's early for that, has something gone wrong with her breast milk? That would be the only reason they'd move her, unless there's been a fight over the baby; which happens more than you'd think. Once she had it, she may have resisted giving it up. I can see that. Her body under the red dress looks very thin, skinny almost, and she's lost that pregnant glow. Her face is white and peaked, as if the juice is being sucked out of her.

"It was no good, you know," Ofglen says near the side of my head. "It was a shredder after all."

She means Janine's baby, the baby that passed through Janine on its way to somewhere else. The baby Angela. It was wrong, to name her too soon. I feel an illness, in the pit of my stomach. Not an illness, an emptiness. I don't want to know what was wrong with it. "My God," I say. To go through all that, for nothing. Worse than nothing.

"It's her second," Ofglen says. "Not counting her own, before. She had an eighth-month miscarriage, didn't you know?"

We watch as Janine enters the roped-off enclosure, in her veil of untouchability, of bad luck. She sees me, she must see me, but she looks right through me. No smile of triumph this time. She turns, kneels, and all I can see now is her back and the thin bowed shoulders.

"She thinks it's her fault," Ofglen whispers. "Two in a row. For being sinful. She used a doctor, they say, it wasn't her Commander's at all."

I can't say I do know or Ofglen will wonder how. As far as she's aware, she herself is my only source, for this kind of information; of which she has a surprising amount. How would she have found out about Janine? The Marthas? Janine's shopping partner? Listening at closed doors, to the Wives over their tea and wine, spinning their webs. Will Serena Joy talk about me like that, if I do as she wants? Agreed to it right away, really she didn't care, anything with two legs and a good you-know-what was fine with her. They aren't squeamish, they don't have the same feelings we do. And the rest of them leaning forward in their chairs, My dear, all horror and prurience. How could she? Where? When?

As they did no doubt with Janine. "That's terrible," I say. It's like Janine, though, to take it upon herself, to decide the baby's flaws were due to her alone. But people will do anything rather than admit that their lives have no meaning. No use, that is. No plot.

One morning while we were getting dressed, I noticed that Janine was still in her white cotton nightgown. She was just sitting there on the edge of her bed.

I looked over towards the double doors of the gymnasium, where the Aunt usually stood, to see if she'd noticed, but the Aunt wasn't there. By that time they were more confident about us; sometimes they left us unsupervised in the classroom and even the cafeteria for minutes at a time. Probably she'd ducked out for a smoke or a cup of coffee.

Look, I said to Alma, who had the bed next to mine.

Alma looked at Janine. Then we both walked over to her. Get your clothes on, Janine, Alma said, to Janine's white back. We don't want extra prayers on account of you. But Janine didn't move.

By that time Moira had come over too. It was before she'd broken free, the second time. She was still limping from what they'd done to her feet. She went around the bed so she could see Janine's face.

Come here, she said to Alma and me. The others were beginning to gather too, there was a little crowd. Go on back, Moira said to them. Don't make a thing of it, what if she walks in?

I was looking at Janine. Her eyes were open, but they didn't see me at all. They were rounded, wide, and her teeth were bared in a fixed smile. Through the smile, through her teeth, she was whispering to herself. I had to lean down close to her.

Hello, she said, but not to me. My name's Janine. I'm your wait-person for this morning. Can I get you some coffee to begin with?

Christ, said Moira, beside me.

Don't swear, said Alma.

Moira took Janine by the shoulders and shook her. Snap out of it, Janine, she said roughly. And don't use that word.

Janine smiled. You have a nice day, now, she said.

Moira slapped her across the face, twice, back and forth. Get back here, she said. Get right back here! You can't stay there, you aren't there anymore. That's all gone.

Janine's smile faltered. She put her hand up to her cheek. What did you hit me for? she said. Wasn't it good? I can bring you another. You didn't have to hit me.

Don't you know what they'll do? Moira said. Her voice was low, but hard, intent. Look at me. My name is Moira and this is the Red Center. Look at me.

Janine's eyes began to focus. Moira? she said. I don't know any Moira.

They won't send you to the Infirmary, so don't even think about it, Moira said. They won't mess around with trying to cure you. They won't even bother to ship you to the Colonies. You go too far away and they just take you up to the Chemistry Lab and shoot you. Then they burn you up with the garbage, like an Unwoman. So forsret it.

I want to go home, Janine said. She began to cry.

Jesus God, Moira said. That's enough. She'll be here in one minute, I promise you. So put your goddamn clothes on and shut up.

Janine kept whimpering, but she also stood up and started to dress.

She does that again and I'm not here, Moira said to me, you just have to slap her like that. You can't let her go slipping over the edge. That stuff is catching.

She must have already been planning, then, how she was going to get out.

34

The sitting space in the courtyard is filled now; we rustle and wait. At last the Commander in charge of this service comes in. He's balding and squarely built and looks like an aging football coach. He's dressed in his uniform, sober black with the rows of insignia and decorations. It's hard not to be impressed, but I make an effort: I try to imagine him in bed with his wife and his Handmaid, fertilizing away like mad, like a rutting salmon, pretending to take no pleasure in it. When the Lord said be fruitful and multiply, did he mean this man?

This Commander ascends the steps to the podium, which is draped with a red cloth embroidered with a large white-winged eye. He gazes over the room, and our soft voices die. He doesn't even have to raise his hands. Then his voice goes into the microphone and out through the speakers, robbed of its lower tones so that it's sharply metallic, as if it's being made not by his mouth, his body, but by the speakers themselves. His voice is metal-colored, horn-shaped.

"Today is a day of thanksgiving," he begins, "a day of praise."

I tune out through the speech about victory and sacrifice. Then there's a long prayer, about unworthy vessels, then a hymn: "There Is a Balm in Gilead."

"There Is a Bomb in Gilead," was what Moira used to call it.

Now comes the main item. The twenty Angels enter, newly returned from the fronts, newly decorated, accompanied by their honor guard, marching one-two one-two into the central open space. Attention, at ease. And now the twenty veiled daughters, in white, come shyly forward, their mothers holding their elbows. It's mothers, not fathers, who give away daughters these days and help with the arrangement of the marriages. The marriages are of course arranged. These girls haven't been allowed to be alone with a man for years; for however many years we've all been doing this.

Are they old enough to remember anything of the time before, playing baseball, in jeans and sneakers, riding their bicycles? Reading books, all by themselves? Even though some of them are no more than fourteen-Start them soon is the policy, there's not a moment to be lost-still they'll remember. And the ones after them will, for three or four or five years; but after that they won't. They'll always have been in white, in groups of girls; they'll always have been silent.

We've given them more than we've taken away, said the Commander. Think of the trouble they had before. Don't you remember the singles' bars, the indignity of high school blind dates? The meat market. Don't you remember the terrible gap between the ones who could get a man easily and the ones who couldn't? Some of them were desperate, they starved themselves thin or pumped their breasts full of silicone, had their noses cut off. Think of the human misery.

He waved a hand at his stacks of old magazines. They were always complaining. Problems this, problems that. Remember the ads in the Personal columns, Bright attractive woman, thirty-five… This way they all get a man, nobody's left out. And then if they did marry, they could be left with a kid, two kids, the husband might just get fed up and take off, disappear, they'd have to go on welfare. Or else he'd stay around and beat them up. Or if they had A job, the children in daycare or left with some brutal ignorant woman, and they'd have to pay for that themselves, out of their wretched little paychecks. Money was the only measure of worth, lor everyone, they got no respect as mothers. No wonder they were giving up on the whole business. This way they're protected, they can fulfill their biological destinies in peace. With full support and encouragement. Now, tell me. You're an intelligent person, I like to hear what you think. What did we overlook?

Love, I said.

Love? said the Commander. What kind of love?

Falling in love, I said. The Commander looked at me with his candid boy's eyes.

Oh yes, he said. I've read the magazines, that's what they were pushing, wasn't it? But look at the stats, my dear. Was it really worth it, falling in love? Arranged marriages have always worked out just as well, if not better.

Love, said Aunt Lydia with distaste. Don't let me catch you at it. No mooning and June-ing around here, girls. Wagging her finger at us. Love is not the point.

Those years were just an anomaly, historically speaking, the Commander said. Just a fluke. All we've done is return things to Nature's norm.

Women's Prayvaganzas are for group weddings like this, usually. The men's are for military victories. These are the things we are supposed to rejoice in the most, respectively. Sometimes though, for the women, they're for a nun who recants. Most of that happened earlier, when they were rounding them up, but they still unearth a few these days, dredge them up from underground, where they've been hiding, like moles. They have that look about them too: weak-eyed, stunned by too much light. The old ones they send off to the Colonies right away, but the young fertile ones they try to convert, and when they succeed we all come here to watch them go through the ceremony, renounce their celibacy, sacrifice it to the common good. They kneel and the Commander prays and then they take the red veil, as the rest of us have done. They aren't allowed to become Wives though; they're considered, still, too dangerous for positions of such power. There's an odor of witch about them, something mysterious and exotic; it remains despite the scrubbing and the welts on their feet and the time they've spent in Solitary. They always have those welts, they've always done that time, so rumor goes: they don't let go easily. Many of them choose the Colonies instead. None of us likes to draw one for a shopping partner. They are more broken than the rest of us; it's hard to feel comfortable with them.

The mothers have stood the white-veiled girls in place and have returned to their chairs. There's a little crying going on among them, some mutual patting and hand-holding, the ostentatious use of handkerchiefs. The Commander continues with the service:

"I will that women adorn themselves in modest apparel," he says, "with shamefacedness and sobriety; not with braided hair, or gold, or pearls, or costly array;

"But (which becometh women professing godliness) with good works.

"Let the woman learn in silence with all subjection." Here he looks us over. "All," he repeats.

"But I suffer not a woman to teach, nor to usurp authority over the man, but to be in silence.

"For Adam was first formed, then Eve.

"And Adam was not deceived, but the woman being deceived was in the transgression.

"Notwithstanding she shall be saved by childbearing, if they continue in faith and charity and holiness with sobriety."

Saved by childbearing, I think. What did we suppose would save us, in the time before?

"He should tell that to the Wives," Ofglen murmurs, "when they're into the sherry." She means the part about sobriety. It's safe to talk again, the Commander has finished the main ritual and they're doing the rings, lifting the veils. Boo, I think in my head. Take a good look, because it's too late now. The Angels will qualify for Handmaids, later, especially if their new Wives can't produce. But you girls are stuck. What you see is what you get, zits and all. But you aren't expected to love him. You'll find that out soon enough. Just do your duty in silence. When in doubt, when flat on your back, you can look at the ceiling. Who knows what you may sec, up there? Funeral wreaths and angels, constellations of dust, stellar or otherwise, the puzzles left by spiders. There's always something to occupy the inquiring mind.

Is anything wrong, dear? the old joke went. No, why? You moved. Just don't move.

What we're aiming for, says Aunt Lydia, is a spirit of camaraderie among women. We must all pull together.

Camaraderie, shit, says Moira through the hole in the toilet cubicle. Right fucking on, Aunt Lydia, as they used to say. How much you want to bet she's got Janine down on her knees? What you think they get up to in that office of hers? I bet she's got her working away on that dried-up old withered-.

Moira! I say.

Moira what? she whispers. You know you've thought it.

It doesn't do any good to talk like that, I say, feeling nevertheless the impulse to giggle. But I still pretended to myself, then, that we should try to preserve something resembling dignity.

You were always such a wimp, Moira says, but with affection. It does so do good. It does.

And she's right, I know that now, as I kneel on this undeniably hard floor, listening to the ceremony drone on. There is something powerful in the whispering of obscenities, about those in power. There's something delightful about it, something naughty, secretive, forbidden, thrilling. It's like a spell, of sorts. It deflates them, reduces them to the common denominator where they can be dealt with. In the paint of the washroom cubicle someone unknown had scratched: Aunt Lydia sucks. It was like a flag waved from a hilltop in rebellion. The mere idea of Aunt Lydia doing such a thing was in itself heartening.

So now I imagine, among these Angels and their drained white brides, momentous grunts and sweating, damp furry encounters; or, better, ignominious failures, cocks like three-week-old carrots, anguished fumblings upon flesh cold and unresponding as uncooked fish.

When it's over at last and we are walking out, Ofglen says to me in her light, penetrating whisper: "We know you're seeing him alone."

"Who?" I say, resisting the urge to look at her. I know who.

"Your Commander," she says. "We know you have been."

I ask her how.

"We just know," she says. "What does he want? Kinky sex?"

It would be hard to explain to her what he does want, because I still have no name for it. How can I describe what really goes on between us? She would laugh, for one thing. It's easier for me to say, "In a way." That at least has the dignity of coercion.

She thinks about this. "You'd be surprised," she says, "how many of them do."

"I can't help it," I say. "I can't say I won't go." She ought to know that.

We're on the sidewalk now and it's not safe to talk, we're too close to the others and the protective whispering of the crowd is gone. We walk in silence, lagging behind, until finally she judges she can say, "Of course you can't. But find out and tell us."

"Find out what?" I say.

I feel rather than see the slight turning of her head. "Anything you can."

35

Now there's a space to be filled, in the too-warm air of my room, and a time also; a space-time, between here and now and there and then, punctuated by dinner. The arrival of the tray, carried up the stairs as if for an invalid. An invalid, one who has been invalidated. No valid passport. No exit.

That was what happened, the day we tried to cross at the border, with our fresh passports that said we were not who we were: that Luke, for instance, had never been divorced, that we were therefore lawful, under the law.

The man went inside with our passports, after we'd explained about the picnic and he'd glanced into the car and seen our daughter asleep, in her zoo of mangy animals. Luke patted my arm and got out of the car as if to stretch his legs and watched the man through the window of the immigration building. I stayed in the car. I lit a cigarette, to steady myself, and drew the smoke in, a long breath of counterfeit relaxation. I was watching two soldiers in the unfamiliar uniforms that were beginning, by then, to be familiar; they were standing idly beside the yellow-and-black-striped lift-up barrier. They weren't doing much. One of them was watching a flock of birds, gulls, lifting and eddying and landing on the bridge railing beyond. Watching him, I watched themtoo. Every-thing was the color it usually is, only brighter.

It's going to be all right, I said, prayed in my head. Oh let it. Let us cross, let us across. Just this once and I'll do anything. What I thought I could do for whoever was listening that would be of the least use or even interest I'll never know.

Then Luke got back into the car, too fast, and turned the key and reversed. He was picking up the phone, he said. And then he began to drive very quickly, and after that there was the dirt road and the woods and we jumped out of the car and began to run. A cottage, to hide in, a boat, I don't know what we thought. He said the passports were foolproof, and we had so little time to plan. Maybe he had a plan, a map of some kind in his head. As for me, I was only running: away, away.

I don't want to be telling this story.

I don't have to tell it. I don't have to tell anything, to myself or to anyone else. I could just sit here, peacefully. I could withdraw. It's possible to go so far in, so far down and back, they could never get you out.

Nolite te bastardes carborundorum. Fat lot of good it did her.

Why fight?

That will never do.

lx›ve? said the Commander.

That's better. That's something I know about. We can talk about that.

Falling in love, I said. Falling into it, we all did then, one way or another. How could he have made such light of it? Sneered even. As if it was trivial for us, a frill, a whim. It was, on the contrary, heavy going. It was the central thing; it was the way you understood yourself; if it never happened to you, not ever, you would be like a mutant, a creature from outer space. Everyone knew that.

Falling in love, we said; I fell for him. We were falling women. We believed in it, this downward motion: so lovely, like flying, and yet at the same time so dire, so extreme, so unlikely. God is love, they once said, but we reversed that, and love, like heaven, was always just around the corner. The more difficult it was to love the particular man beside us, the more we believed in Love, abstract and total. We were waiting, always, for the incarnation. That word, made flesh.

And sometimes it happened, for a time. That kind of love comes and goes and is hard to remember afterwards, like pain. You would look at the man one day and you would think, / loved you, and the tense would be past, and you would be filled with a sense of wonder, because it was such an amazing and precarious and dumb thing to have done; and you would know too why your friends had been evasive about it, at the time.

There is a good deal of comfort, now, in remembering this.

Or sometimes, even when you were still loving, still falling, you'd wake up in the middle of the night, when the moonlight was coming through the window onto his sleeping face, making the shadows in the sockets of his eyes darker and more cavernous than in daytime, and you'd think, Who knows what they do, on their own or with other men? Who knows what they say or where they are likely to go? Who can tell what they really are? Under their daily-ness.

Likely you would think at those times: What if he doesn't love me?

Or you'd remember stories you'd read, in the newspapers, about women who had been found-often women but sometimes they would be men, or children, that was the worst-in ditches or forests or refrigerators in abandoned rented rooms, with their clothes on or off, sexually abused or not; at any rate killed. There were places you didn't want to walk, precautions you took that had to do with locks on windows and doors, drawing the curtains, leaving on lights. These things you did were like prayers; you did them and you hoped they would save you. And for the most part they did. Or something did; you could tell by the fact that you were still alive.

But all of that was pertinent only in the night, and had nothing to do with the man you loved, at least in daylight. With that man you wanted it to work, to work out. Working out was also something you did to keep your body in shape, for the man. If you worked out enough, maybe the man would too. Maybe you would be able to work it out together, as if the two of you were a puzzle that could be solved; otherwise, one of you, most likely the man, would go wandering off on a trajectory of his own, taking his addictive body with him and leaving you with bad withdrawal, which you could counteract by exercise. If you didn't work it out it was because one of you had the wrong attitude. Everything that went on in your life was thought to be due to some positive or negative power emanating from inside your head.

If you don't like it, change it, we said, to each other and to ourselves. And so we would change the man, for another one. Change, we were sure, was for the better always. We were revisionists; what we revised was ourselves.

It's strange to remember how we used to think, as if everything were available to us, as if there were no contingencies, no boundaries; as if we were free to shape and reshape forever the ever-expanding perimeters of our lives. I was like that too, I did that too. Luke was not the first man for me, and he might not have been the last. If he hadn't been frozen that way. Stopped dead in time, in midair, among the trees back there, in the act of falling.

In former times they would send you a little package, of the belongings: what he had with him when he died. That's what they would do, in wartime, my mother said. How long were you supposed to mourn, and what did they say? Make your life a tribute to the loved one. And he was, the loved. One.

Is, I say. Is, is, only two letters, you stupid shit, can't you manage to remember it, even a short word like that?

I wipe my sleeve across my face. Once I wouldn't have done that, for fear of smearing, but now nothing comes off. Whatever expression is there, unseen by me, is real.

You'll have to forgive me. I'm a refugee from the past, and like other refugees I go over the customs and habits of being I've left or been forced to leave behind me, and it all seems just as quaint, from here, and I am just as obsessive about it. Like a White Russian drinking tea in Paris, marooned in the twentieth century, I wander back, try to regain those distant pathways; I become too maudlin, lose myself. Weep. Weeping is what it is, not crying. I sit in this chair and ooze like a sponge.

So. More waiting. Lady in waiting: that's what they used to call (hose stores where you could buy maternity clothes. Woman in waiting sounds more like someone in a train station. Waiting is also a place: it is wherever you wait. For me it's this room. I am a blank, here, between parentheses. Between other people

The knock comes at my door. Cora, with the tray.

But it isn't Cora. "I've brought it for you," says Serena Joy.

And then I look up and around, and get out of my chair and come towards her. She's holding it, a Polaroid print, square and glossy. So they still make them, cameras like that. And there will be family albums, too, with all the children in them; no Handmaids though. From the point of view of future history, this kind, we'll be invisible. But the children will be in them all right, something for the Wives to look at, downstairs, nibbling at the buffet and waiting for the Birth.

"You can only have it for a minute," Serena Joy says, her voice low and conspiratorial. "I have to return it, before they know it's missing."

It must have been a Martha who got it for her. There's a network of the Marthas, then, with something in it for them. That's nice to know.

I take it from her, turn it around so I can see it right-side-up. Is this her, is this what she's like? My treasure.

So tall and changed. Smiling a little now, so soon, and in her white dress as if for an olden-days First Communion.

Time has not stood still. It has washed over me, washed me away, as if I'm nothing more than a woman of sand, left by a careless child too near the water. I have been obliterated for her. I am only a shadow now, far back behind the glib shiny surface of this photograph. A shadow of a shadow, as dead mothers become. You can see it in her eyes: I am not there.

But she exists, in her white dress. She grows and lives. Isn't that a good thing? A blessing?

Still, I can't bear it, to have been erased like that. Better she'd brought me nothing.

I sit at the little table, eating creamed corn with a fork. I have a fork and a spoon, but never a knife. When there's meat they cut it up for me ahead of time, as if I'm lacking manual skills or teeth. I have both, however. That's why I'm not allowed a knife.

36

I knock on his door, hear his voice, adjust my face, go in. He's standing by the fireplace; in his hand he's got an almost-empty drink. He usually waits till I get here to start on the hard liquor, though I know they have wine with dinner. His face is a little flushed. I try to estimate how many he's had.

"Greetings," he says. "How is the fair little one this evening?"

A few, I can tell by the elaborateness of the smile he composes and aims. He's in the courtly phase.

"I'm fine," I say.

"Up for a little excitement?"

"Pardon?" I say. Behind this act of his I sense embarrassment, an uncertainty about how far he can go with me, and in what direction.

"Tonight I have a little surprise for you," he says. He laughs; it's more like a snigger. I notice that everything this evening is little. He wishes to diminish things, myself included. "Something you'll like."

"What's that?" I say. "Chinese checkers?" I can take these liber-ties; he appears to enjoy them, especially after a couple of drinks. I le prefers me frivolous.

"Something better," he says, attempting to be tantalizing.

"I can hardly wait."

"Good," he says. He goes to his desk, fumbles with a drawer. Then he conies towards me, one hand behind his back.

"Guess," he says.

"Animal, vegetable, or mineral?" I say.

"Oh, animal," he says with mock gravity. "Definitely animal, I'd say." He brings his hand out from behind his back. He's holding a handful, it seems, of feathers, mauve and pink. Now he shakes this out. It's a garment, apparently, and for a woman: there are the cups for the breasts, covered in purple sequins. The sequins are tiny stars. The feathers are around the thigh holes, and along the top. So I wasn't that wrong about the girdle, after all.

I wonder where he found it. All such clothing was supposed to have been destroyed. I remember seeing that on television, in news clips filmed in one city after another. In New York it was called the Manhattan Cleanup. There were bonfires in Times Square, crowds chanting around them, women throwing their arms up thankfully into the air when they felt the cameras on them, clean-cut stony-faced young men tossing things onto the flames, armfuls of silk and nylon and fake fur, lime-green, red, violet; black satin, gold lame glittering silver; bikini underpants, see-through brassieres with pink satin hearts sewn on to cover the nipples. And the manufacturers and importers and salesmen down on their knees, repenting in public, conical paper hats like dunce hats on their heads, SHAME printed on them in red.

But some items must have survived the burning, they couldn't possibly have got it all. He must have come by this in the same way he came by the magazines, not honestly: it reeks of black market. And it's not new, it's been worn before, the cloth under the arms is crumpled and slightly stained, with some other woman's sweat.

"I had to guess the size," he says. "I hope it fits."

"You expect me to put that on?" I say. I know my voice sounds prudish, disapproving. Still there is something attractive in the idea. I've never worn anything remotely like this, so glittering and theatrical, and that's what it must be, an old theater costume, or something from a vanished nightclub act; the closest I ever came were bathing suits, and a camisole set, peach lace, that Luke bought for me once. Yet there's an enticement in this thing, it carries with it the childish allure of dressing up. And it would be so flaunting, such a sneer at the Aunts, so sinful, so free. Freedom, like everything else, is relative.

"Well," I say, not wishing to seem too eager. I want him to feel I'm doing him a favor. Now we may come to it, his deep-down real desire. Does he have a pony whip, hidden behind the door? Will he produce boots, bend himself or me over the desk?

"It's a disguise," he says. "You'll need to paint your face too; I've got the stuff for it. You'll never get in without it."

"In where?" I ask.

"Tonight I'm taking you out."

"Out?" It's an archaic phrase. Surely there is nowhere, anymore, where a man can take a woman, out.

"Out of here," he says.

I know without being told that what he's proposing is risky, for him but especially for me; but I want to go anyway. I want anything that breaks the monotony, subverts the perceived respectable order of things.

I tell him I don't want him to watch me while I put this thing on; I'm still shy in front of him, about my body. He says he will turn his back, and does so, and I take off my shoes and stockings and my cotton underpants and slide the feathers on, under the tent of my dress. Then I take off the dress itself and slip the thin se-quined straps over my shoulders. There are shoes, too, mauve ones with absurdly high heels. Nothing quite fits; the shoes are a little too big, the waist on the costume is too tight, but it will do.

"There," I say, and he turns around. I feel stupid; I want to see myself in a mirror.

"Charming," he says. "Now for the face."

All he has is a lipstick, old and runny and smelling of artificial grapes, and some eyeliner and mascara. No eye shadow, no blusher. For a moment I think I won't remember how to do any of this, and my first try with the eyeliner leaves me with a smudged black lid, as if I've been in a fight; but I wipe it off with the vegetable-oil hand lotion and try again. I rub some of the lipstick along my cheekbones, blending it in. While I do all this, he holds a large silver-backed hand mirror for me. I recognize it as Serena Joy's. He must have borrowed it from her room.

Nothing can be done about my hair.

"Terrific," he says. By this time he is quite excited; it's as if we're dressing for a party.

He goes to the cupboard and gets out a cloak, with a hood. It's light blue, the color for Wives. This too must be Serena's.

"Pull the hood down over your face," he says. "Try not to smear the make-up. It's for getting through the checkpoints."

"But what about my pass?" I say.

"Don't worry about that," he says. "I've got one for you."

And so we set out.

We glide together through the darkening streets. The Commander has hold of my right hand, as if we're teenagers at the movies. I clutch the sky-blue cape tightly about me, as a good Wife should. Through the tunnel made by the hood I can see the back of Nick's head. His hat is on straight, he's sitting up straight, his neck is straight, he is all very straight. His posture disapproves of me, or am I imagining it? Does he know what I've got on under this cloak, did he procure it? And if so, does this make him angry or lustful or envious or anything at all? We do have something in common: both of us are supposed to be invisible, both of us are functionaries. I wonder if he knows this. When he opened the door of the car for the Commander, and, by extension, for me, I tried to catch his eye, make him look at me, but he acted as if he didn't see me. Why not? It's a soft job for him, running little errands, doing little favors, and there's no way he'd want to jeopardize it.

The checkpoints are no problem, everything goes as smoothly as the Commander said it would, despite the heavy pounding, the pressure of blood in my head. Chickenshit, Moira would say.

Past the second checkpoint, Nick says, "Here, sir?" and the Commander says yes.

The car pulls over and the Commander says, "Now I'll have to ask you to get down onto the floor of the car."

"Down?" I say.

"We have to go through the gateway," he says, as if this means something to me. I tried to ask him where we were going, but he said he wanted to surprise me. "Wives aren't allowed."

So I flatten myself and the car starts again, and for the next few minutes I see nothing. Under the cloak it's stifling hot. It's a winter cloak, not a cotton summer one, and it smells of mothballs. He must have borrowed it from storage, knowing she wouldn't notice. He has considerately moved his feet to give me room. Nevertheless my forehead is against his shoes. I have never been this close to his shoes before. They feel hard, unwinking, like the shells of beetles: black, polished, inscrutable. They seem to have nothing to do with feet.

We pass through another checkpoint. I hear the voices, impersonal, deferential, and the window rolling electrically down and up for the passes to be shown. This time he won't show mine, the one that's supposed to be mine, as I'm no longer in official existence, for now.

Then the car starts and then it stops again, and the Commander is helping me up.

"We'll have to be fast," he says. "This is a back entrance. You should leave the cloak with Nick. On the hour, as usual," he says to Nick. So this too is something he's done before.

He helps me out of the cloak; the car door is opened. I feel air on my almost-bare skin, and realize I've been sweating. As I turn to shut the car door behind me I can see Nick looking at me through the glass. He sees me now. Is it contempt I read, or indifference, is this merely what he expected of me?

We're in an alleyway behind a building, red brick and fairly modern. A bank of trash cans is set out beside the door, and there's a smell of fried chicken, going bad. The Commander has a key to the door, which is plain and gray and flush with the wall and, I think, made of steel. Inside it there's a concrete-block corridor lit with fluorescent overhead lights; some kind of functional tunnel.

"Here," the Commander says. He slips around my wrist a tag, purple, on an elastic band, like the tags for airport luggage. "If anyone asks you, say you're an evening rental," he says. He takes me by the bare upper arm and steers me forward. What I want is a mirror, to see if my lipstick is all right, whether the feathers are too ridiculous, too frowzy. In this light I must look lurid. Though it's too late now.

Idiot, says Moira.

37

We go along the corridor and through another flat gray door and along another corridor, softly lit and carpeted this time, in a mushroom color, browny pink. Doors open off it, with numbers on them: a hundred and one, a hundred and two, the way you count during a thunderstorm, to see how close you are to being struck. It's a hotel then. From behind one of the doors comes laughter, a man's and also a woman's. It's a long time since I've heard that.

We emerge into a central courtyard. It's wide and also high: it goes up several stories to a skylight at the top. There's a fountain in the middle of it, a round fountain spraying water in the shape of a dandelion gone to seed. Potted plants and trees sprout here and there, vines hang down from the balconies. Oval-sided glass elevators slide up and down the walls like giant mollusks.

I know where I am. I've been here before: with Luke, in the afternoons, a long time ago. It was a hotel, then. Now it's full of women.

I stand still and stare at them. I can stare, here, look around me, there are no white wings to keep me from it. My head, shorn of them, feels curiously light; as if a weight has been removed from it, or substance.

The women are sitting, lounging, strolling, leaning against one another. There are men mingled with them, a lot of men, but in their dark uniforms or suits, so similar to one another, they form only a kind of background. The women on the other hand are tropical, they are dressed in all kinds of bright festive gear. Some of them have on outfits like mine, feathers and glister, cut high up the thighs, low over the breasts. Some are in olden-days lingerie, shor-tie nightgowns, baby-doll pajamas, the occasional see-through negligee. Some are in bathing suits, one piece or bikini; one, I see, is wearing a crocheted affair, with big scallop shells covering the tits. Some are in jogging shorts and sun halters, some in exercise costumes like the ones they used to show on television, body-tight, with knitted pastel leg warmers. There are even a few in cheerleaders' outfits, little pleated skirts, outsized letters across the chest. I guess they've had to fall back on a melange, whatever they could scrounge or salvage. All wear make-up, and I realize how unaccustomed I've become to seeing it, on women, because their eyes look too big to me, too dark and shimmering, their mouths too red, too wet, blood-dipped and glistening; or, on the other hand, too clownish.

At first glance there's a cheerfulness to this scene. It's like a masquerade party; they are like oversize children, dressed up in togs they've rummaged from trunks. Is there joy in this? There could be, but have they chosen it? You can't tell by looking.

There are a great many buttocks in this room. I am no longer used to them.

"It's like walking into the past," says the Commander. His voice sounds pleased, delighted even. "Don't you think?"

I try to remember if the past was exactly like this. I'm not sure, now. I know it contained these things, but somehow the mix is different. A movie about the past is not the same as the past.

"Yes," I say. What I feel is not one simple thing. Certainly I am not dismayed by these women, not shocked by them. I recognize them as truants. The official creed denies them, denies their very existence, yet here they are. That is at least something.

"Don't gawk," says the Commander. "You'll give yourself away. Just act natural." Again he leads me forward. Another man has spotted him, has greeted him and set himself in motion towards us. The Commander's grip tightens on my upper arm. "Steady," he whispers. "Don't lose your nerve."

All you have to do, I tell myself, is keep your mouth shut and look stupid. It shouldn't be that hard.

The Commander does the talking for me, to this man and to the others who follow him. He doesn't say much about me, he doesn't need to. He says I'm new, and they look at me and dismiss me and confer together about other things. My disguise performs its function.

He retains hold of my arm, and as he talks his spine straightens imperceptibly, his chest expands, his voice assumes more and more the sprightliness and jocularity of youth. It occurs to me he is showing off. He is showing me off, to them, and they understand that, they are decorous enough, they keep their hands to themselves, but they review my breasts, my legs, as if there's no reason why they shouldn't. But also he is showing off to me. He is demonstrating, to me, his mastery of the world. He's breaking the rules, under their noses, thumbing his nose at them, getting away with it. Perhaps he's reached that state of intoxication which power is said to inspire, the state in which you believe you are indispensable and can therefore do anything, absolutely anything you feel like, anything at all. Twice, when he thinks no one is looking, he winks at me.

It's a juvenile display, the whole act, and pathetic; but it's something I understand.

When he's done enough of this he leads me away again, to a puffy flowered sofa of the kind they once had in hotel lobbies; in this lobby, in fact, it's a floral design I remember, dark blue background, pink art nouveau flowers. "I thought your feet might be getting tired," he says, "in those shoes." He's right about that, and I'm grateful. He sits me down, and sits himself down beside me. He puts an arm around my shoulders. The fabric is raspy against my skin, so unaccustomed lately to being touched.

"Well?" he says. "What do you think of our little club?"

I look around me again. The men are not homogeneous, as I first thought. Over by the fountain there's a group of Japanese, in lightish-gray suits, and in the far corner there's a splash of white: Arabs, in those long bathrobes they wear, the headgear, the striped sweat-bands.

"It's a club?" I say.

"Well, that's what we call it, among ourselves. The club."

"I thought this sort of thing was strictly forbidden," I say.

"Well, officially," he says. "But everyone's human, after all."

I wait for him to elaborate on this, but he doesn't, so I say, "What does than mean?"

"It means you can't cheat Nature," he says. "Nature demands variety, for men. It stands to reason, it's part of the procreational strategy. It's Nature's plan." I don't say anything, so he goes on. "Women know that instinctively. Why did they buy so many different clothes, in the old days? To trick the men into thinking they were several different women. A new one each day."

He says this as if he believes it, but he says many things that way. Maybe he believes it, maybe he doesn't, or maybe he does both at the same time. Impossible to tell what he believes.

"So now that we don't have different clothes," I say, "you merely have different women." This is irony, but he doesn't acknowledge it.

"It solves a lot of problems," he says, without a twitch.

I don't reply to this. I am getting fed up with him. I feel like freezing on him, passing the rest of the evening in sulky wordlessness. But I can't afford that and I know it. Whatever this is, it's still an evening out.

What I'd really like to do is talk with the women, but I see scant chance of that.

"Who are these people?" I ask him.

"It's only for officers," he says. "From all branches; and senior officials. And trade delegations, of course. It stimulates trade. It's a good place to meet people. You can hardly do business without it. We try to provide at least as good as they can get elsewhere. You can overhear things too; information. A man will sometimes tell a woman things he wouldn't tell another man."

"No," I say, "I mean the women."

"Oh," he says. "Well, some of them are real pros. Working girls"-he laughs-"from the time before. They couldn't be assimilated; anyway, most of them prefer it here."

"And the others?"

"The others?" he says. "Well, we have quite a collection. That one there, the one in green, she's a sociologist. Or was. That one was a lawyer, that one was in business, an executive position; some sort of fast-food chain or maybe it was hotels. I'm told you can have quite a good conversation with her if all you feel like is talking. They prefer it here, too."

"Prefer it to what?" I say.

"To the alternatives," he says. "You might even prefer it yourself, to what you've got." He says this coyly, he's fishing, he wants to be complimented, and I know that the serious part of the conversation has come to an end.

"I don't know," I say, as if considering it. "It might be hard work."

"You'd have to watch your weight, that's for sure," he says. "They're strict about that. Gain ten pounds and they put you in Solitary." Is he joking? Most likely, but I don't want to know.

"Now," he says, "to get you into the spirit of the place, how about a little drink?"

"I'm not supposed to," I say. "As you know."

"Once won't hurt," he says. "Anyway, it wouldn't look right if' you didn't. No nicotine-and-alcohol taboos here! You see, they do have some advantages here."

"All right," I say. Secretly I like the idea, I haven't had a drink for years.

"What'll it be, then?" he says. "They've got everything here. Imported."

"A gin and tonic," I say. "But weak, please. I wouldn't want to disgrace you."

"You won't do that," he says, grinning. He stands up, then, surprisingly, takes my hand and kisses it, on the palm. Then he moves off, heading for the bar. He could have called over a waitress, there are some of these, in identical black miniskirts with pompoms on their breasts, but they seem busy and hard to flag down.

Then I see her. Moira. She's standing with two other women, over near the fountain. I have to look hard, again, to make sure it's her; I do this in pulses, quick flickers of the eyes, so no one will notice. She's dressed absurdly, in a black outfit of once-shiny satin that looks the worse for wear. It's strapless, wired from the inside, pushing up the breasts, but it doesn't quite fit Moira, it's too large, so that one breast is plumped out and the other one isn't. She's'tugging absent-mindedly at the top, pulling it up. There's a wad of cotton attached to the back, I can see it as she half turns; it looks like a sanitary pad that's been popped like a piece of popcorn. I realize that it's supposed to be a tail. Attached to her head are two ears, of a rabbit or deer, it's not easy to tell; one of the ears has lost its starch or wiring and is flopping halfway down. She has a black bow tie around her neck and is wearing black net stockings and black high heels. She always hated high heels.

The whole costume, antique and bizarre, reminds me of something from the past, but I can't think what. A stage play, a musical comedy? Girls dressed for Easter, in rabbit suits. What is the significance of it here, why are rabbits supposed to be sexually attractive to men? How can this bedraggled costume appeal?

Moira is smoking a cigarette. She takes a drag, passes it to the woman on her left, who's in red spangles with a long pointed tail attached, and silver horns; a devil outfit. Now she has her arms folded across her front, under her wired-up breasts. She stands on one foot, then the other, her feet must hurt; her spine sags slightly. She gazes without interest or speculation around the room. This must be familiar scenery.

I will her to look at me, to see me, but her eyes slide over me as if I'm just another palm tree, another chair. Surely she must turn, I'm willing so hard, she must look at me, before one of the men comes over to her, before she disappears. Already the other women with her, the blonde in the short pink bed jacket with the tatty fur trim, has been appropriated, has entered the glass elevator, has ascended out of sight. Moira swivels her head around again, checking perhaps for prospects. It must be hard to stand there unclaimed, as if she's at a high school dance, being looked over. This time her eyes snag on me. She sees me. She knows enough not to react.

We stare at one another, keeping our faces blank, apathetic. Then she makes a small motion of her head, a slight jerk to the right. She takes the cigarette back from the woman in red, holds it to her mouth, lets her hand rest in the air a moment, all five fingers outspread. Then she turns her back on me.

Our old signal. I have five minutes to get to the women's wash room, which must be somewhere to her right. I look around: no sign of it. Nor can I risk getting up and walking anywhere, without the Commander. I don't know enough, I don't know the ropes, I might be challenged.

A minute, two. Moira begins to saunter off, not glancing around. She can only hope I've understood her and will follow.

The Commander comes back, with two drinks. He smiles down at me, places the drinks on the long black coffee table in front of the sofa, sits. "Enjoying yourself?" he says. He wants me to. This after all is a treat.

I smile at him. "Is there a washroom?" I say.

"Of course," he says. He sips at his drink. He does not volunteer directions.

"I need to go to it." I am counting in my head now, seconds, not minutes.

"It's over there." He nods.

"What if someone stops me?"

"Just show them your tag," he says. "It'll be all right. They'll know you're taken."

I get up, wobble across the room. I lurch a little, near the fountain, almost fall. It's the heels. Without the Commander's arm to steady me I'm off balance. Several of the men look at me, with surprise I think rather than lust. I feel like a fool. I hold my left arm conspicuously in front of me, bent at the elbow, with the tag turned outward. Nobody says anything.

38

I find the entrance to the women's washroom. It still says Ladies, in scrolly gold script. There's a corridor leading in to the door, and a woman seated at a table beside it, supervising the entrances and exits. She's an older woman, wearing a purple caftan and gold eyeshadow, but I can tell she is nevertheless an Aunt. The cattle prod's on the table, its thong around her wrist. No nonsense here.

"Fifteen minutes," she says to me. She gives me an oblong of purple cardboard from a stack of them on the table. It's like a fitting room, in the department stores of the time before. To the woman behind me I hear her say, "You were just here."

"I need to go again," the woman says.

"Rest break once an hour," says the Aunt. "You know the rules."

The woman begins to protest, in a whiny desperate voice. I push open the door.

I remember this. There's a rest area, gently lit in pinkish tones, with several easy chairs and a sofa, in a lime-green bamboo-shoot print, with a wall clock above it in a gold filigree frame. Here they haven't removed the mirror, there's a long one opposite the sofa. You need to know, here, what you look like. Through an archway beyond there's the row of toilet cubicles, also pink, and washbasins and more mirrors.

Several women are sitting in the chairs and on the sofa, with their shoes off, smoking. They stare at me as I come in. There's perfume in the air and stale smoke, and the scent of working flesh.

"You new?" one of them says.

"Yes," I say, looking around for Moira, who is nowhere in sight.

The women don't smile. They return to their smoking as if it's serious business. In the room beyond, a woman in a cat suit with a tail made of orange fake fur is redoing her make-up. This is like backstage: grease paint, smoke, the materials of illusion.

I stand hesitant, not knowing what to do. I don't want to ask about Moira, I don't know whether it's safe. Then a toilet flushes and Moira comes out of a pink cubicle. She teeters towards me; I wait for a sign.

"It's all right," she says, to me and to the other women. "I know her." The others smile now, and Moira hugs me. My arms go around her, the wires propping up her breasts dig into my chest. We kiss each other, on one cheek, then the other. Then we stand back.

"Godawful," she says. She grins at me. "You look like the Whore of Babylon."

"Isn't that what I'm supposed to look like?" I say. "You look like something the cat dragged in."

"Yes," she says, pulling up her front, "not my style and this thing is about to fall to shreds. I wish they'd dredge up someone who still knows how to make them. Then I could get something halfway decent."

"You pick that out?" I say. I wonder if maybe she'd chosen it, out of the others, because it was less garish. At least it's only black and white.

"Hell no," she says. "Government issue. I guess they thought it was me."

I still can't believe it's her. I touch her arm again. Then I begin to cry.

"Don't do that," she says. "Your eyes'll run. Anyway there isn't time. Shove over." This she says to the two women on the sofa, her usual peremptory rough-cut slapdash manner, and as usual she gets away with it.

"My break's up anyway," says one woman, who's wearing a baby-blue laced-up Merry Widow and white stockings. She stands up, shakes my hand. "Welcome," she says.

The other woman obligingly moves over, and Moira and I sit down. The first thing we do is take off our shoes.

"What the hell are you doing here?" Moira says then. "Not that it isn't great to see you. But it's not so great for you. What'd you do wrong? Laugh at his dick?"

I look up at the ceiling. "Is it bugged?" I say. I wipe around my eyes, gingerly, with my fingertips. Black comes off.

"Probably," says Moira. "You want a cig?"

"I'd love one," I say.

"Here," she says to the woman next to her. "Lend me one, will you?"

The woman hands over, ungrudging. Moira is still a skillful borrower. I smile at that.

"On the other hand, it might not be," says Moira. "I can't imagine they'd care about anything we have to say. They've already heard most of it, and anyway nobody gets out of here except in a black van. But you must know that, if you're here."

I pull her head over so I can whisper in her ear. "I'm temporary," I tell her. "It's just tonight. I'm not supposed to be here at all. He smuggled me in."

"Who?" she whispers back. "That shit you're with? I've had him, he's the pits."

"He's my Commander," I say.

She nods. "Some of them do that, they get a kick out of it. It's like screwing on the altar or something: your gang are supposed to be such chaste vessels. They like to see you all painted up. Just another crummy power trip."

This interpretation hasn't occurred to me. I apply it to the Commander, but it seems too simple for him, too crude. Surely his motivations are more delicate than that. But it may only be vanity that prompts me to think so.

"We don't have much time left," I say. "Tell me everything."

Moira shrugs. "What's the point?" she says. But she knows there is a point, so she does.

This is what she says, whispers, more or less. I can't remember exactly, because I had no way of writing it down. I've filled it out for her as much as I can: we didn't have much time so she just gave the outlines. Also she told me this in two sessions, we managed a second break together. I've tried to make it sound as much like her as I can. It's a way of keeping her alive.

"I left that old hag Aunt Elizabeth tied up like a Christmas turkey behind the furnace. I wanted to kill her, I really felt like it, but now I'm just as glad I didn't or things would be a lot worse for me. I couldn't believe how easy it was to get out of the Center. In that brown outfit I just walked right through. I kept on going as if I knew where I was heading, till I was out of sight. I didn't have any great plan; it wasn't an organized thing, like they thought, though when they were trying to get it out of me I made up a lot of stuff. You do that, when they use the electrodes and the other things. You don't care what you say.

"I kept my shoulders back and chin up and marched along, trying to think of what to do next. When they busted the press they'd picked up a lot of the women I knew, and I thought they'd most likely have the rest by now. I was sure they had a list. We were dumb to think we could keep it going the way we did, even underground, even when we'd moved everything out of the office and into people's cellars and back rooms. So I knew better than to try any of those houses.

"I had some sort of an idea of where I was in relation to the city, though I was walking along a street I couldn't remember having seen before. But I figured out from the sun where north was. Girl Scouts was some use after all. I thought I might as well head that way, see if I could find the Yard or the Square or anything around it. Then I would know for sure where I was. Also I thought it would look better for me to be going in towards the center of things, rather than away. It would look more plausible.

"They'd set up more checkpoints while we were inside the Center, they were all over the place. The first one scared the shit out of me. I came on it suddenly around a corner. I knew it wouldn't look right if I turned around in full view and went back, so I bluffed it through, the same as I had at the gate, putting on that frown and keeping myself stiff and pursing my lips and looking right through them, as if they were festering sores. You know the way the Aunts look when they say the word man. It worked like a charm, and it did at the other checkpoints, too.

"But the insides of my head were going around like crazy. I only hud so much time, before they found the old bat and sent out the alarm. Soon enough they'd be looking for me: one fake Aunt, on foot. I tried to think of someone, I ran over and over the people I knew. At last I tried to remember what I could about our mailing list. We'd destroyed it, of course, early on; or we didn't destroy it, we divided it up among us and each one of us memorized a section, and then we destroyed it. We were still using the mails then, but we didn't put our logo on the envelopes anymore. It was getting far too risky.

"So I tried to recall my section of the list. I won't tell you the name I chose, because I don't want them to get in trouble, if they haven't already. It could be I've spilled all this stuff, it's hard to remember what you say when they're doing it. You'll say anything.

"I chose them because they were a married couple, and those were safer than anyone single and especially anyone gay. Also I remembered the designation beside their name. Q, it said, which meant Quaker. We had the religious denominations marked where there were any, for marches. That way you could tell who might turn out to what. It was no good calling on the C's to do abortion stuff, for instance; not that we'd done much of that lately. I remembered their address, too. We'd grilled each other on those addresses, it was important to remember them exactly, zip code and all.

"By this time I'd hit Mass. Ave. and I knew where I was. And I knew where they were too. Now I was worrying about something else: when these people saw an Aunt coming up the walk, wouldn't they just lock the door and pretend not to be home? But I had to try it anyway, it was my only chance. I figured they weren't likely to shoot me. It was about five o'clock by this time. I was tired of walking, especially that Aunt's way like a goddamn soldier, poker up the ass, and I hadn't had anything to eat since breakfast.

"What I didn't know of course was that in those early days the Aunts and even the Center were hardly common knowledge. It was all secret at first, behind barbed wire. There might have been objections to what they were doing, even then. So although people had seen the odd Aunt around, they weren't really aware of what they were for. They must have thought they were some kind of army nurse. Already they'd stopped asking questions, unless they had to.

"So these people let me in right away. It was the woman who came to the door. I told her I was doing a questionnaire. I did that so she wouldn't look surprised, in case anyone was watching. Bui as soon as I was inside the door, I took off the headgear and told them who I was. They could have phoned the police or whatever, I know I was taking a chance, but like I say there wasn't any choice. Anyway they didn't. They gave me some clothes, a dress of hers, and burned the Aunt's outfit and the pass in their furnace; they knew that had to be done right away. They didn't like having me there, that much was clear, it made them very nervous. They had two little kids, both under seven. I could see their point.

"I went to the can, what a relief that was. Bathtub full of plastic fish and so on. Then I sat upstairs in the kids' room and played with them and their plastic blocks while their parents stayed downstairs and decided what to do about me. I didn't feel scared by then, in fact I felt quite good. Fatalistic, you could say. Then the woman made me a sandwich and a cup of coffee and the man said he'd take me to another house. They hadn't risked phoning.

"The other house was Quakers too, and they were pay dirt, because they were a station on the Underground Femaleroad. After the first man left, they said they'd try to get me out of the country. I won't tell you how, because some of the stations may still be operating. Each one of them was in contact with only one other one, always the next one along. There were advantages to that-it was better if you were caught-but disadvantages too, because if one station got busted the entire chain backed up until they could make contact with one of their couriers, who could set up an alternate route. They were better organized than you'd think, though. They'd infiltrated a couple of useful places; one of them was the post office. They had a driver there with one of those handy little trucks. I made it over the bridge and into the city proper in a mail sack. I can tell you that now because they got him, soon after that. He ended up on the Wall. You hear about these things; you hear a lot in here, you'd be surprised. The Commanders tell us themselves, I guess they figure why not, there's no one we can pass it on to, except each other, and that doesn't count.

"I'm making this sound easy but it wasn't. I nearly shat bricks the whole time. One of the hardest things was knowing that these other people were risking their lives for you when they didn't have to. But they said they were doing it for religious reasons and I shouldn't take it personally. That helped some. They had silent prayers every evening. I found that hard to get used to at first, because it reminded me too much of that shit at the Center. It made me feel sick to my stomach, to tell you the truth. I had to make an effort, tell myself that this was a whole other thing. I hated it at first. But I figure it was what kept them going. They knew more or less what would happen to them if they got caught. Not in detail, but they knew. By that time they'd started putting some of it on (he TV, the trials and so forth.

"It was before the sectarian roundups began in earnest. As long as you said you were some sort of a Christian and you were married, for the first time that is, they were still leaving you pretty much alone. They were concentrating first on the others. They got them more or less under control before they started in on everybody else.

"I was underground it must have been eight or nine months. I was taken from one safe house to another, there were more of those then. They weren't all Quakers, some of them weren't even religious. They were just people who didn't like the way things were going.

"I almost made it out. They got me up as far as Salem, then in a truck full of chickens to Maine. I almost puked from the smell; you ever thought what it would be like to be shat on by a truckload of chickens, all of them carsick? They were planning to get me across the border there; not by car or truck, that was already too difficult, but by boat, up the coast. I didn't know that until the actual night, they never told you the next step until right before it was happening. They were careful that way.

"So I don't know what happened. Maybe somebody got cold feet about it, or somebody outside got suspicious. Or maybe it was the boat, maybe they thought the guy was out in his boat at night too much. By that time it must have been crawling with Eyes up there, and everywhere else close to the border. Whatever it was, they picked us up just as we were coming out the back door to go down to the dock. Me and the guy, and his wife too. They were an older couple, in their fifties. He'd been in the lobster business, back before all that happened to the shore fishing there. I don't know what became of them after that, because they took me in a separate van.

"I thought it might be the end, for me. Or back to the Center and the attentions of Aunt Lydia and her steel cable. She enjoyed that, you know. She pretended to do all that love-the-sinner, hate-the-sin stuff, but she enjoyed it. I did consider offing myself, and maybe I would have if there'd been any way. But they had two of them in the back of the van with me, watching me like a hawk; didn't say a hell of a lot, just sat and watched me in that walleyed way they have. So it was no go.

"We didn't end up at the Center though, we went somewhere else. I won't go into what happened after that. I'd rather not talk about it. All I can say is they didn't leave any marks.

"When that was over they showed me a movie. Know what it was about? It was about life in the Colonies. In the Colonies, they spend their time cleaning up. They're very clean-minded these days. Sometimes it's just bodies, after a battle. The ones in city ghettos are the worst, they're left around longer, they get rottener. This bunch doesn't like dead bodies lying around, they're afraid of a plague or something. So the women in the Colonies there do the burning. The other Colonies are worse, though, the toxic dumps and the radiation spills. They figure you've got three years maximum, at those, before your nose falls off and your skin pulls away like rubber gloves. They don't bother to feed you much, or give you protective clothing or anything, it's cheaper not to. Anyway they're mostly people they want to get rid of. They say there're other Colonies, not so bad, where they do agriculture: cotton and tomatoes and all that. But those weren't the ones they showed me the movie about.

"It's old women-I bet you've been wondering why you haven't seen too many of those around anymore-and Handmaids who've screwed up their three chances, and incorrigibles like me. Discards, all of us. They're sterile, of course. If they aren't that way to begin with, they are after they've been there for a while. When they're unsure, they do a little operation on you, so there won't be any mistakes. I'd say it's about a quarter men in the Colonies, too. Not all of those Gender Traitors end up on the Wall.

"All of them wear long dresses, like the ones at the Center, only gray. Women and the men too, judging from the group shots. I guess it's supposed to demoralize the men, having to wear a dress. Shit, it would demoralize me enough. How do you stand it? Everything considered, I like this outfit better.

"So after that, they said I was too dangerous to be allowed the privilege of returning to the Red Center. They said I would be a corrupting influence. I had my choice, they said, this or the Colonies. Well, shit, nobody but a nun would pick the Colonies. I mean, I'm not a martyr. If I'd had my tubes tied years ago, I wouldn't even have needed the operation. Nobody in here with viable ovaries either, you can see what kind of problems it would cause.

"So here I am. They even give you face cream. You should figure out some way of getting in here. You'd have three or four good years before your snatch wears out and they send you to the bone-yard. The food's not bad and there's drink and drugs, if you want it, and we only work nights."

"Moira," I say. "You don't mean that." She is frightening me now, because what I hear in her voice is indifference, a lack of volition. Have they really done it to her then, taken away something-what?-that used to be so central to her? And how can I expect her to go on, with my idea of her courage, live it through, act it out, when I myself do not?

I don't want her to be like me. Give in, go along, save her skin. That is what it comes down to. I want gallantry from her, swashbuckling, heroism, single-handed combat. Something I lack.

"Don't worry about me," she says. She must know some of what I'm thinking. "I'm still here, you can see it's me. Anyway, look at it this way: it's not so bad, there's lots of women around. Butch paradise, you might call it."

Now she's teasing, showing some energy, and I feel better. "Do they let you?" I say.

"Let, hell, they encourage it. Know what they call this place among themselves? Jezebel's. The Aunts figure we're all damned anyway, they've given up on us, so it doesn't matter what sort of vice we get up to, and the Commanders don't give a piss what we do in our off time. Anyway, women on women sort of turns them on."

"What about the others?" I say.

"Put it this way," she says, "they're not too fond of men." She shrugs again. It might be resignation.

Here is what I'd like to tell. I'd like to tell a story about how Moira escaped, for good this time. Or if I couldn't tell that, I'd like to say she blew up Jezebel's, with fifty Commanders inside it. I'd like her to end with something daring and spectacular, some outrage, something that would befit her. But as far as I know that didn't happen. I don't know how she ended, or even if she did, because I never saw her again.

39

The Commander has a room key. He got it from the front desk, while I waited on the flowered sofa. He shows it to me, slyly. I am to understand.

We ascend in the glass half egg of the elevator, past the vine-draped balconies. I am to understand also that I am on display.

He unlocks the door of the room. Everything is the same, the very same as it was, once upon a time. The drapes are the same, the heavy flowered ones that match the bedspread, orange poppies on royal blue, and the thin white ones to draw against the sun; the bureau and bedside tables, square-cornered, impersonal; the lamps; the pictures on the walls: fruit in a bowl, stylized apples, flowers in a vase, buttercups and devil's paintbrushes keyed to the drapes. All is the same.

I tell the Commander just a minute, and go into the bathroom. My ears are ringing from the smoke, the gin has filled me with lassitude. I wet a washcloth and press it to my forehead. After a while I look to see if there are any little bars of soap in individual wrappers. There are. The kind with the gypsy on them, from Spain.

I breathe in the soap smell, the disinfectant smell, and stand in the white bathroom, listening to the distant sounds of water running, toilets being flushed. In a strange way I feel comforted, at home. There is something reassuring about the toilets. Bodily functions at least remain democratic. Everybody shits, as Moira would say.

I sit on the edge of the bathtub, gazing at the blank towels. Once they would have excited me. They would have meant the aftermath, of love.

I saw your mother, Moira said.

Where? I said. I felt jolted, thrown off. I realized I'd been thinking of her as dead.

Not in person, it was in that film they showed us, about the Colonies. There was a close-up, it was her all right. She was wrapped up in one of those gray things but I know it was her.

Thank God, I said.

Why, thank God? said Moira.

I thought she was dead.

She might as well be, said Moira. You should wish it for her.

I can't remember the last time I saw her. It blends in with all the others; it was some trivial occasion. She must have dropped by; she did that, she breezed in and out of my house as if I were the mother and she were the child. She still had that jauntiness. Sometimes, when she was between apartments, just moving into one or just moving out, she'd use my washer-dryer for her laundry. Maybe she'd come over to borrow something, from me: a pot, a hair dryer. That too was a habit of hers.

I didn't know it would be the last time or else I would have remembered it better. I can't even remember what we said.

A week later, two weeks, three weeks, when things had become suddenly so much worse, I tried to call her. But there was no answer, and no answer when I tried again.

She hadn't told me she was going anywhere, but then maybe she wouldn't have; she didn't always. She had her own car and she wasn't too old to drive.

Finally I got the apartment superintendent on the phone. He said he hadn't seen her lately.

I was worried. I thought maybe she'd had a heart attack or a stroke, it wasn't out of the question, though she hadn't been sick that I knew of. She was always so healthy. She still worked out at

Nautilus and went swimming every two weeks. I used to tell my friends she was healthier than I was and maybe it was true.

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

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

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

Don't, said Luke.

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

Just don't, is what he said.

Your mother's neat, Moira would say, when we were at college. Later: she's got pizzazz. Later still: she's cute.

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

Jeez, said Moira, you ought to see mine.

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

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

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

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

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

I wish I had a toothbrush.

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

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

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

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

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

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

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

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

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

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

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

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

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

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