The Handmaid's Tale - Margaret Atwood [54]
I think we found this frightening.
Moira was like an elevator with open sides. She made us dizzy. Already we were losing the taste for freedom, already we were finding these walls secure. In the upper reaches of the atmosphere you'd come apart, you'd vaporize, there would be no pressure holding you together.
Nevertheless Moira was our fantasy. We hugged her to us, she was with us in secret, a giggle; she was lava beneath the crust of daily life. In the light of Moira, the Aunts were less fearsome and more absurd. Their power had a flaw to it. They could be shanghaied in toilets. The audacity was what we liked.
We expected her to be dragged in at any minute, as she had been before. We could not imagine what they might do to her this time. It would be very bad, whatever it was.
But nothing happened. Moira didn't reappear. She hasn't yet.
23
This is a reconstruction. All of it is a reconstruction. It's a reconstruction now, in my head, as I lie flat on my single bed rehearsing what I should or shouldn't have said, what I should or shouldn't have done, how I should have played it. If I ever get out of here—
Let's stop there. I intend to get out of here. It can't last forever. Others have thought such things, in bad times before this, and they were always right, they did get out one way or another, and it didn't last forever. Although for them it may have lasted all the forever they had.
When I get out of here, if I'm ever able to set this down, in any form, even in the form of one voice to another, it will be a reconstruction then too, at yet another remove. It's impossible to say a thing exactly the way it was, because what you say can never be exact, you always have to leave something out, there are too many parts, sides, crosscurrents, nuances; too many gestures, which could mean this or that, too many shapes which can never be fully described, too many flavors, in the air or on the tongue, half-colors, too many. But if you happen to be a man, sometime in the future, and you've made it this far, please remember: you will never be subject to the temptation or feeling you must forgive, a man, as a woman. It's difficult to resist, believe me. But remember that forgiveness too is a power. To beg for it is a power, and to withhold or bestow it is a power, perhaps the greatest.
Maybe none of this is about control. Maybe it isn't really about who can own whom, who can do what to whom and get away with it, even as far as death. Maybe it isn't about who can sit and who has to kneel or stand or lie down, legs spread open. Maybe it's about who can do what to whom and be forgiven for it. Never tell me it amounts to the same thing.
I want you to kiss me, said the Commander.
Well, of course something came before that. Such requests never come flying out of the blue.
I went to sleep after all, and dreamed I was wearing earrings, and one of them was broken; nothing beyond that, just the brain going through its back files, and I was wakened by Cora with the dinner tray, and time was back on track.
"It a good baby?" says Cora as she's setting down the tray. She must know already, they have a kind of word-of-mouth telegraph, from household to household, news gets around; but it gives her pleasure to hear about it, as if my words will make it more real.
"It's fine," I say. "A keeper. A girl."
Cora smiles at me, a smile that includes. These are the moments that must make what she is doing seem worthwhile to her.
"That's good," she says. Her voice is almost wistful, and I think: of course. She would have liked to have been there. It's like a party she couldn't go to.
"Maybe we have one, soon," she says, shyly. By we she means me. It's up to me to repay the team, justify my food and keep, like a queen ant with eggs. Rita may disapprove of me, but Cora does not. Instead she depends on me. She hopes, and I am the vehicle of her hope.
Her hope is of the simplest