The Blind Assassin - Margaret Atwood [214]
On the stretch of sidewalk outside it there’s broken glass, vomit, what looks like drying blood. Don’t step in it, he says.
There’s a bar on the ground floor, although it’s called a Beverage Room. Men Only, Ladies and Escorts. Outside there’s a red neon sign, the letters vertical, and a red arrow coming down and bending so that the arrowhead points at the door. Two of the letters are dead so it reads Be rage Room. Small bulbs like Christmas lights flash off and on, running down the sign like ants going down a drainpipe.
Even at this hour there are men hanging around, waiting for the place to open. He takes her elbow as they go past, hurries her a little. Behind them one of the men makes a noise like a tomcat yowling.
For the hotel part of things there’s a separate door. The black-and-white mosaic tiling of the entranceway surrounds what was once perhaps a red lion, but it’s been chewed away as if by stone-eating moths and so it’s now more like a mangled polyp. The ochre-yellow linoleum floor hasn’t been scrubbed for some time; splotches of dirt bloom on it like grey pressed flowers.
He signs the register, pays; while he does this she stands, hoping she looks bored, keeping her face still, eyes above the glum desk clerk, watching the clock. It’s plain, assertive, without pretensions to grace, like a railway clock: utilitarian. This is the time, it says, only one layer of it, there is no other.
He has the key now. Second floor. There’s a tiny coffin of an elevator but she can’t stand the thought of it, she knows what it will smell like, dirty socks and decaying teeth, and she can’t stand to be in there face to face with him, so close and in that smell. They walk up the stairs. A carpet, once dark blue and red. A pathway strewn with flowers, worn down now to the roots.
I’m sorry, he said. It could be better.
What you get is what you pay for, she says, intending brightness; but it’s the wrong thing to say, he may think she’s commenting on his lack of money. It’s good camouflage though, she says, trying to fix it. He doesn’t answer this. She’s talking too much, she can hear herself, and what she’s saying is not at all beguiling. Is she different from what he remembers, is she much changed?
In the hallway there’s wallpaper, no longer any colour. The doors are dark wood, gouged and gored and flayed. He finds the number, the key turns. It’s a long-shafted old-fashioned key, as if for an ancient strongbox. The room is worse than any of the furnished rooms they’d been in before: those had made at least a surface pretense of being clean. A double bed covered by a slippery spread, imitation quilted satin, a dull yellowy pink like the sole of a foot. One chair, with a leaking upholstered seat that appears to be stuffed with dust. An ashtray of chipped brown glass. Cigarette smoke, spilled beer, and under that another more disturbing smell, like underclothes long unwashed. There’s a transom over the door, its bumpy glass painted white.
She peels off her gloves, drops them onto the chair along with her coat and scarf, digs the flask out of her handbag. No glasses in sight, they’ll have to swig.
Does the window open? she says. We could use some fresh air.
He goes over, hoists the sash. A thick breeze pushes in. Outside, a streetcar grinds past. He turns, still at the window, leaning backwards, his hands behind him on the sill. With the light behind him, all she can see is his outline. He could be anybody.
Well, he says. Here we are again. He sounds bone tired. It occurs to her that he may not want to do anything in this room but sleep.
She goes over to him, slips her arms around his waist. I found the story, she says.
What story?
Lizard Men of Xenor. I looked everywhere for it, you should have seen me poking