Robber Bride - Margaret Atwood [214]
She drifts to the window and looks out. Down below, among the fiery lights and many lives, there’s a slow smouldering; the smell of it permeates the room. Everything burns eventually, even stone can burn. In the room behind her is the depth of outer space, where the atoms are blown like ashes, borne on the restless interstellar winds, the banished souls, atoning.…
There’s a knock at the door. She goes to open, because it will be a maid with towels. But it isn’t, it’s Billy, in striped pyjamas, his body grown older, bloated, his face raw meat. If he touches her she will fall apart like a bundle of rotted leather. It’s her new eyes doing this. She rubs and pulls at her face, trying to get out of these eyes, these dark eyes she no longer wants. But Zenia’s eyes won’t come off; they’re stuck to her own eyes like the scales of a fish. Like smoked glass, they darken everything.
Roz is walking through the forest, through the shattered trunks and spiky undergrowth, wearing a sailor dress that is too big for her. She knows this dress isn’t hers, she never had a dress like this. Her feet are bare, and cold too; pain shoots through them, because the ground is covered with snow. There’s a track ahead of her: a red footprint, a white footprint, a red footprint. To the side there’s a clump of trees. Many people have been that way; they’ve dropped the things they were carrying, a lamp, a book, a watch, a suitcase fallen open, a leg with a shoe, a shoe with a diamond buckle. Paper money blows here and there, like candy-bar wrappers tossed away. The footprints lead in among the trees but none come out. She knows not to follow them; there’s something in there, something frightening she doesn’t want to see.
She’s safe though because here is her garden, the delphiniums drooping, black with mildew, forlorn in the snow. There are white chrysanthemums too but they aren’t planted, they’re in big cylindrical silver vases and she’s never seen them before. Nevertheless this is her house. The back window is shattered, the door swings loose but she goes in anyway, she walks through the white kitchen where nothing moves, past the table with three chairs. Dust covers everything. She’ll have to clean this up, because her mother is no longer here.
She climbs up the back stairs, her thawing feet tingling with pins and needles. The upstairs hallway is empty and silent; there is no music. Where are her children? They must be grown up, they must have gone away, they must be living elsewhere. But how can that be, how can she have grown-up children? She’s too young for that, she’s too small. There’s something wrong with time.
Then she hears the sound of the shower. Mitch must be here, which fills her with joy because he has been away so long. She wants to run inside, to greet him. Through the open bedroom door steam billows.
But she can’t go in, because a man in an overcoat is blocking her way. Orange light pours from his mouth and nostrils. He opens his coat and there is his sacred heart, orange too like a glowing jack-o’-lantern, flickering in the wind that has sprung up suddenly. He holds up his left hand to stop her. Nun, he says.
Despite appearances, despite everything, she knows this man is Zenia. From the ceiling it begins to rain.
51
It’s after dark. There’s a fine chilly drizzle, and the storefronts with their lit-up windows and the black streets with their red neon reflections have the slick, wet look that Tony associates with plastic raincoats and greased hair and freshly applied lipstick – a dubious, exciting look. Cars sizzle past, filled with strangers,