The Handmaid's Tale - Margaret Atwood [104]
"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 vinedraped 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