The Blind Assassin - Margaret Atwood [162]
Correction: it wasn’t the proceedings she took an interest in, it was the poem. I knew it already, from Miss Violence, from Avilion, but Laura hadn’t bothered much about it then. Now she read it over and over.
What was a demon-lover, she wanted to know? Why was the sea sunless, why was the ocean lifeless? Why did the sunny pleasure-dome have caves of ice? What was Mount Abora, and why was the Abyssinian maid singing about it? Why were the ancestral voices prophesying war?
I didn’t know the answers to any of these questions. I know all of them now. Not the answers of Samuel Taylor Coleridge – I’m not sure he had any answers, since he was hopped up on drugs at the time – but my own answers. Here they are, for what they’re worth.
The sacred river is alive. It flows to the lifeless ocean, because that’s where all things that are alive end up. The lover is a demon-lover because he isn’t there. The sunny pleasure-dome has caves of ice because that’s what pleasure-domes have – after a while they become very cold, and after that they melt, and then where are you? All wet. Mount Abora was the Abyssinian maid’s home, and she was singing about it because she couldn’t get back to it. The ancestral voices were prophesying war because ancestral voices never shut up, and they hate to be wrong, and war is a sure thing, sooner or later.
Correct me if I’m wrong.
The snow fell, softly at first, then in hard pellets that stung the skin like needles. The sun set in the afternoon, the sky changed from washed blood to skim milk. Smoke poured from the chimneys, from the furnaces stoked with coal. The bread-wagon horses left piles of steaming brown buns on the street which then froze solid. Children threw them at one another. The clocks struck midnight, over and over, every midnight a deep blue-black riddled with icy stars, the moon white bone. I looked out the bedroom window, down to the sidewalk, through the branches of the chestnut tree. Then I turned out the light.
The Xanadu ball was the second Saturday in January. My costume had come that morning, in a box with armfuls of tissue paper. The smart thing to do was to rent your costume from Malabar’s, because to have one specially made would be displaying too much of an effort. Now it was almost six o’clock and I was trying it on. Laura was in my room: she would often do her homework there, or make a show of doing it. “What are you supposed to be?” she said.
“The Abyssinian Maid,” I said. What I would do for a dulcimer I wasn’t yet sure. Perhaps a banjo, with ribbons added. Then I remembered that the only banjo I knew about was back at Avilion, in the attic, left over from my dead uncles. I would have to skip the dulcimer.
I didn’t expect Laura to tell me I looked pretty, or nice even. She never did that: pretty and nice were not categories of thought for her. This time she said, “You aren’t very Abyssinian. Abyssinians aren’t supposed to be blonde.”
“I can’t help the colour of my hair,” I said. “It’s Winifred’s fault. She should have chosen Vikings or something.”
“Why are they all afraid of him?” said Laura.
“Afraid of who?” I said. (I hadn’t considered the fear in this poem, only the pleasure. The pleasure-dome. The pleasure-dome was where I really lived now – where I had my true being, unknown to those around me. With walls and towers girdled round, so nobody else could get in.)
“Listen,” she said. She recited, with her eyes closed:
Could I revive within me
Her symphony and song,
To such a deep delight ’twould win me,
That with music loud and long,
I would build that dome in air,
That sunny dome! those caves of ice!
And all who heard should see them there,
And all should cry, Beware! Beware!
His flashing eyes, his floating hair!
Weave a circle round him thrice,
And close your eyes with holy dread,
For he on honey-dew hath fed,
And drunk the