I wait, for the household to assemble. Household: that is what we are. The Commander is the head of the household. The house is what he holds. To have and to hold, till death do us part.
The hold of a ship. Hollow.
Cora comes in first, then Rita, wiping her hands on her apron. They too have been summoned by the bell, they resent it, they have other things to do, the dishes for instance. But they need to be here, they all need to be here, the Ceremony demands it. We are all obliged to sit through this, one way or another.
Rita scowls at me before slipping in to stand behind me. It's my fault, this waste of her time. Not mine, but my body's, if there is a difference. Even the Commander is subject to its whims.
Nick walks in, nods to all three of us, looks around the room. He too takes his place behind me, standing. He's so close that the tip of his boot is touching my foot. Is this on purpose? Whether it is or not we are touching, two shapes of leather. I feel my shoe soften, blood flows into it, it grows warm, it becomes a skin. I move my foot slightly, away.
"Wish he'd hurry up," says Cora.
"Hurry up and wait," says Nick. He laughs, moves his foot so it's touching mine again. No one can see, beneath the folds of my outspread skirt. I shift, it's too warm in here, the smell of stale perfume makes me feel a little sick. I move my foot away.
We hear Serena coming, down the stairs, along the hall, the muffled tap of her cane on the rug, thud of the good foot. She hobbles through the doorway, glances at us, counting but not seeing. She nods, at Nick, but says nothing. She's in one of her best dresses, sky-blue with embroidery in white along the edges of the veil: flowers and fretwork. Even at her age she still feels the urge to wreathe herself in flowers. No use for you, I think at her, my face unmoving, you can't use them any more, you're withered. They're the genital organs of plants. I read that somewhere, once.
She makes her way to her chair and footstool, turns, lowers herself, lands ungracefully. She hoists her left foot onto the stool, fumbles in her sleeve pocket. I can hear the rustling, the click of her lighter, I smell the hot singe of the smoke, breathe it in.
"Late as usual," she says. We don't answer. There's a clatter as she gropes on the lamp table, then a click, and the television set runs through its warm-up.
A male choir, with greenish-yellow skin, the colour needs adjusting, they're singing "Come to the Church in the Wildwood." Come, come, come, come, sing the basses. Serena clicks the channel changer. Waves, coloured zigzags, a garble of sound: it's the Montreal satellite station, being blocked. Then there's a preacher, earnest, with shining dark eyes, leaning towards us across a desk. These days they look a lot like businessmen. Serena gives him a few seconds, then clicks onward.
Several blank channels, then the news. This is what she's been looking for. She leans back, inhales deeply. I on the contrary lean forward, a child being allowed up late with the grown-ups. This is the one good thing about these evenings, the evenings of the Ceremony: I'm allowed to watch the news. It seems to be an unspoken rule in this household: we always get here on time, he's always late, Serena always lets us watch the news.
Such as it is: who knows if any of it is true? It could be old clips, it could be faked. But I watch it anyway, hoping to be able to read beneath it. Any news, now, is better than none.
First, the front lines. They are not lines, really: the war seems to be going on in many places at once.
Wooded hills, seen from above, the trees a sickly yellow. I wish she'd fix the colour. The Appalachian Highlands, says the voice-over, where the Angels of the Apocalypse, Fourth Division, are smoking out a pocket of Baptist guerillas, with air support from the Twenty-first Battalion of the Angels of Light. We are shown two helicopters, black ones with silver wings painted on the sides. Below them, a clump of trees explodes.
Now a close shot of a prisoner, with a stubbled and dirty face, flanked by two Angels in their neat black uniforms. The prisoner accepts a cigarette from one of the Angels, puts it awkwardly to his lips with his bound hands. He gives a lopsided little grin. The announcer is saying something, but I don't hear it: I look into this man's eyes, trying to decide what he's thinking. He knows the camera is on him: is the grin a show of defiance, or is it submission? Is he embarrassed, at having been caught?
They show us only victories, never defeats. Who wants bad news?
Possibly he's an actor.
The anchorman comes on now. His manner is kindly, fatherly; he gazes out at us from the screen, looking, with his tan and his white hair and candid eyes, wise wrinkles around them, like everybody's ideal grandfather. What he's telling us, his level smile implies, is for our own good. Everything will be all right soon. I promise. There will be peace. You must trust. You must go to sleep, like good children.
He tells us what we long to believe. He's very convincing.
I struggle against him. He's like an old movie star, I tell myself, with false teeth and a face job. At the same time I sway towards him, like one hypnotized. If only it were true. If only I could believe.
Now he's telling us that an underground espionage ring has been cracked, by a team of Eyes, working with an inside informant. The ring has been smuggling precious national resources over the border into Canada.
"Five members of the heretical sect of Quakers have been arrested," he says, smiling blandly, "and more arrests are anticipated."
Two of the Quakers appear onscreen, a man and a woman. They look terrified, but they're trying to preserve some dignity in front of the camera. The man has a large dark mark on his forehead; the woman's veil has been torn off, and her hair falls in strands over her face. Both of them are about fifty.
Now we can see a city, again from the air. This used to be Detroit. Under the voice of the announcer there's the thunk of artillery. From the skyline columns of smoke ascend.
"Resettlement of the Children of Ham is continuing on schedule," says the reassuring pink face, back on the screen. "Three thousand have arrived this week in National Homeland One, with another two thousand in transit." How are they transporting that many people at once? Trains, buses? We are not shown any pictures of this. National Homeland One is in North Dakota. Lord knows what they're supposed to do, once they get there. Farm, is the theory.
Serena Joy has had enough of the news. Impatiently she clicks the button for a station change, comes up with an aging bass baritone, his cheeks like emptied udders. "Whispering Hope" is what he's singing. Serena turns him off.
We wait, the clock in the hall ticks, Serena lights another cigarette, I get into the car. It's a Saturday morning, it's a September, we still have a car. Other people have had to sell theirs. My name isn't Offred, I have another name, which nobody uses now because it's forbidden. I tell myself it doesn't matter, your name is like your telephone number, useful only to others; but what I tell myself is wrong, it does matter. I keep the knowledge of this name like something hidden, some treasure I'll come back to dig up, one day. I think of this name as buried. This name has an aura around it, like an amulet, some charm that's survived from an unimaginably distant past. I lie in my single bed at night, with my eyes closed, and the name floats there behind my eyes, not quite within reach, shining in the dark.
It's a Saturday morning in September, I'm wearing my shining name. The little girl who is now dead sits in the back seat, with her two best dolls, her stuffed rabbit, mangy with age and love. I know all the details. They are sentimental details but I can't help that. I can't think about the rabbit too much though, I can't start to cry, here on the Chinese rug, breathing in the smoke that has been inside Serena's body. Not here, not now, I can do that later.
She thought we were going on a picnic, and in fact there is a picnic basket on the back seat, beside her, with real food in it, hard-boiled eggs, thermos and all. We didn't want her to know where we were really going, we didn't want her to tell, by mistake, reveal anything, if we were stopped. We didn't want to lay upon her the burden of our truth.
I wore my hik
ing boots, she had on her sneakers. The laces of the sneakers had a design of hearts on them, red, purple, pink, and yellow. It was warm for the time of year, the leaves were turning already, some of them; Luke drove, I sat beside him, the sun shone, the sky was blue, the houses as we passed them looked comforting and ordinary, each house as it was left behind vanishing into past time, crumbling in an instant as if it had never been, because I would never see it again, or so I thought then.
We have almost nothing with us, we don't want to look as if we're going anywhere far or permanent. We have the forged passports, guaranteed, worth the price. We couldn't pay in money, of course, or put it on the Compucount: we used other things, some jewellery that was my grandmother's, a stamp collection Luke inherited from his uncle. Such things can be exchanged, for money, in other countries. When we get to the border we'll pretend we're just going over on a day trip; the fake visas are for a day. Before that I'll give her a sleeping pill so she'll be asleep when we cross. That way she won't betray us. You can't expect a child to lie convincingly.
And I don't want her to feel frightened, to feel the fear that is now tightening my muscles, tensing my spine, pulling me so taut that I'm certain I would break if touched. Every stoplight is an ordeal. We'll spend the night at a motel, or, better, sleeping in the car on a sideroad so there will be no suspicious questions. We'll cross in the morning, drive over the bridge, easily, just like driving to the supermarket.
We turn onto the freeway, head north, flowing with not much traffic. Since the war started, gas is expensive and in short supply. Outside the city we pass the first checkpoint. All they want is a look at the licence, Luke does it well. The licence matches the passport: we thought of that.
Back on the road, he squeezes my hand, glances over at me. You're white as a sheet, he says.
That is how I feel: white, flat, thin. I feel transparent. Surely they will be able to see through me. Worse, how will I be able to hold on to Luke, to her, when I'm so flat, so white? I feel as if there's not much left of me; they will slip through my arms, as if I'm made of smoke, as if I'm a mirage, fading before their eyes. Don't think that way, Moira would say. Think that way and you'll make it happen.
Cheer up, says Luke. He's driving a little too fast now. The adrenalin's gone to his head. Now he's singing. Oh what a beautiful morning, he sings.
Even his singing worries me. We've been warned not to look too happy.
CHAPTER FIFTEEN
The Commander knocks at the door. The knock is prescribed: the sitting room is supposed to be Serena Joy's territory, he's supposed to ask permission to enter it. She likes to keep him waiting. It's a little thing, but in this household little things mean a lot. Tonight, however, she doesn't even get that, because before Serena Joy can speak he steps forward into the room anyway. Maybe he's just forgotten the protocol, but maybe it's deliberate. Who knows what she said to him, over the silver-encrusted dinner table? Or didn't say.
The Commander has on his black uniform, in which he looks like a museum guard. A semi-retired man, genial but wary, killing time. But only at first glance. After that he looks like a midwestern bank president, with his straight neatly brushed silver hair, his sober posture, shoulders a little stooped. And after that there is his moustache, silver also, and after that his chin, which really you can't miss. When you get down as far as the chin he looks like a vodka ad, in a glossy magazine, of times gone by.
His manner is mild, his hands large, with thick fingers and acquisitive thumbs, his blue eyes uncommunicative, falsely innocuous. He looks us over as if taking inventory. One kneeling woman in red, one seated woman in blue, two in green, standing, a solitary man, thin-faced, in the background. He manages to appear puzzled, as if he can't quite remember how we all got in here. As if we are something he inherited, like a Victorian pump organ, and he hasn't figured out what to do with us. What we are worth.
He nods, in the general direction of Serena Joy, who does not make a sound. He crosses to the large leather chair reserved for him, takes the key out of his pocket, fumbles with the ornate brass-bound leather-covered box that stands on the table beside the chair. He inserts the key, opens the box, lifts out the Bible, an ordinary copy, with a black cover and gold-edged pages. The Bible is kept locked up, the way people once kept tea locked up, so the servants wouldn't steal it. It is an incendiary device: who knows what we'd make of it, if we ever got our hands on it? We can be read to from it, by him, but we cannot read. Our heads turn towards him, we are expectant, here comes our bedtime story.
The Commander sits down and crosses his legs, watched by us. The bookmarks are in place. He opens the book. He clears his throat a little, as if embarrassed.
"Could I have a drink of water?" he says to the air. "Please," he adds.
Behind me, one of them, Cora or Rita, leaves her space in the tableau and pads off towards the kitchen. The Commander sits, looking down. The Commander sighs, takes out a pair of reading glasses from his inside jacket pocket, gold rims, slips them on. Now he looks like a shoemaker in an old fairytale book. Is there no end to his disguises, of benevolence?
We watch him: every inch, every flicker.
To be a man, watched by women. It must be entirely strange. To have them watching him all the time. To have them wondering, What's he going to do next? To have them flinch when he moves, even if it's a harmless enough move, to reach for an ashtray perhaps. To have them sizing him up. To have them thinking, he can't do it, he won't do, he'll have to do, this last as if he were a garment, out of style or shoddy, which must nevertheless be put on because there's nothing else available.
To have them putting him on, trying him on, trying him out, while he himself puts them on, like a sock over a foot, onto the stub of himself, his extra, sensitive thumb, his tentacle, his delicate stalked slug's eye, which extrudes, expands, winces, and shrivels back into himself when touched wrongly, grows big again, bulging a little at the tip, travelling forward as if along a leaf, into them, avid for vision. To achieve vision in this way, this journey into a darkness that is composed of women, a woman, who can see in darkness while he himself strains blindly forward.
She watches him from within. We're all watching him. It's one thing we can really do, and it's not for nothing: if he were to falter, fail or die, what would become of us? No wonder he's like a boot, hard on the outside, giving shape to a pulp of tenderfoot. That's just a wish. I've been watching him for some time and he's given no evidence, of softness.
But watch out, Commander, I tell him in my head. I've got my eye on you. One false move and I'm dead.
Still, it must be hell, to be a man, like that.
It must be just fine.
It must be hell.
It must be very silent.
The water appears, the Commander drinks it. "Thank you," he says. Cora rustles back into place.
The Commander pauses, looking down, scanning the page. He takes his time, as if unconscious of us. He's like a man toying with a steak, behind a restaurant window, pretending not to see the eyes watching him from hungry darkness not three feet from his elbow. We lean towards him a little, iron filings to his magnet. He has something we don't have, he has the word. How we squandered it, once.
The Commander, as if reluctantly, begins to read. He isn't very good at it. Maybe he's merely bored.
It's the usual story, the usual stories. God to Adam, God to Noah. Be fruitful, and multiply, and replenish the earth. Then comes the mouldy old Rachel and Leah stuff we had drummed into us at the Centre. Give me children, or else I die. Am I in God's stead, who hath withheld from thee the fruit of the womb? Behold my maid Bilhah. She shall bear upon my knees, that I may also have children by her. And so on and so forth. We had it read to us every breakfast, as we sat in the high-school cafeteria, eating porridge with cream and brown sugar. You're getting the best, you know, said Aunt Lydia. There's a war on, things are rationed. You are spoiled girls, she twinkled, as if rebuking a kitten. Naughty puss.
For lunc
h it was the Beatitudes. Blessed be this, blessed be that. They played it from a disc, the voice was a man's. Blessed be the poor in spirit, for theirs is the kingdom of heaven. Blessed are the merciful. Blessed are the meek. Blessed are the silent. I knew they made that up, I knew it was wrong, and they left things out too, but there was no way of checking. Blessed be those that mourn, for they shall be comforted.
Nobody said when.
I check the clock, during dessert, canned pears with cinnamon, standard for lunch, and look for Moira in her place, two tables over. She's gone already. I put my hand up, I am excused. We don't do this too often, and always at different times of day.
In the washroom I go to the second-last stall, as usual.
Are you there? I whisper.
Large as life and twice as ugly, Moira whispers back.
What have you heard? I ask her.
Nothing much. I've got to get out of here, I'm going bats.
I feel panic. No, no, Moira, I say, don't try it. Not on your own.
I'll fake sick. They send an ambulance, I've seen it.
You'll only get as far as the hospital.
At least it'll be a change. I won't have to listen to that old bitch.
They'll find you out.
Not to worry, I'm good at it. When I was a kid in high school I cut out vitamin C, I got scurvy. In the early stages they can't diagnose it. Then you just start it again and you're fine. I'll hide my vitamin pills.
Moira, don't.
I couldn't stand the thought of her not being here, with me. For me.
They send two guys with you, in the ambulance. Think about it. They must be starved for it, shit, they aren't even allowed to put their hands in their pockets, the possibilities are -
You in there. Time's up, said the voice of Aunt Elizabeth, from the doorway. I stood up, flushed the toilet. Two of Moira's fingers appeared, through the hole in the wall. It was only large enough for two fingers. I touched my own fingers to them, quickly, held on. Let go.
"And Leah said, God hath given me my hire, because I have given my maiden to my husband," says the Commander. He lets the book fall closed. It makes an exhausted sound, like a padded door shutting, by itself, at a distance: a puff of air. The sound suggests the softness of the thin oniony pages, how they would feel under the fingers. Soft and dry, like papier poudre, pink and powdery, from the time before, you'd get it in booklets for taking the shine off your nose, in those stores that sold candles and soap in the shapes of things: seashells, mushrooms. Like cigarette paper. Like petals.
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