The Handmaid's Tale (The Handmaid's Tale 1)

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.

The Commander sits with his eyes closed for a moment, as if tired. He works long hours. He has a lot of responsibilities.

Serena has begun to cry. I can hear her, behind my back. It isn't the first time. She always does this, the night of the Ceremony. She's trying not to make a noise. She's trying to preserve her dignity, in front of us. The upholstery and the rugs muffle her but we can hear her clearly despite that. The tension between her lack of control and her attempt to suppress it is horrible. It's like a fart in church. I feel, as always, the urge to laugh, but not because I think it's funny. The smell of her crying spreads over us and we pretend to ignore it.

The Commander opens his eyes, notices, frowns, ceases to notice. "Now we will have a moment of silent prayer," says the Commander. "We will ask for a blessing, and for success in all our ventures."

I bow my head and close my eyes. I listen to the held breath, the almost inaudible gasps, the shaking going on behind my back. How she must hate me, I think.

I pray silently: Nolite te bastardes carborundorum. I don't know what it means, but it sounds right, and it will have to do, because I don't know what else I can say to God. Not right now. Not, as they used to say, at this juncture. The scratched writing on my cupboard wall floats before me, left by an unknown woman, with the face of Moira. I saw her go out, to the ambulance, on a stretcher, carried by two Angels.

What is it? I mouthed to the woman beside me; safe enough, a question like that, to all but a fanatic.

A fever, she formed with her lips. Appendicitis, they say.

I was having dinner, that evening, hamburger balls and hashed browns. My table was near the window, I could see out, as far as the front gates. I saw the ambulance come back, no siren this time. One of the Angels jumped out, talked with the guard. The guard went into the building; the ambulance stayed parked; the Angel stood with his back towards us, as they had been taught to do. Two of the Aunts came out of the building, with the guard. They went around to the back. They hauled Moira out, dragged her in through the gate and up the front steps, holding her under the armpits, one on each side. She was having trouble walking. I stopped eating, I couldn't eat; by this time all of us on my side of the table were staring out the window. The window was greenish, with that chicken-wire mesh they used to put inside glass. Aunt Lydia said, Eat your dinner. She went over and pulled down the blind.

They took her into a room that used to be the Science Lab. It was a room where none of us ever went willingly. Afterwards she could not walk for a week, her feet would not fit into her shoes, they were too swollen. It was the feet they'd do, for a first offence. They used steel cables, frayed at the ends. After that the hands. They didn't care what they did to your feet and hands, even if it was permanent. Remember, said Aunt Lydia. For our purposes your feet and your hands are not essential.

Moira lay on her bed, an example. She shouldn't have tried it, not with the Angels, Alma said, from the next bed over. We had to carry her to classes. We stole extra paper packets of sugar for her, from the cafeteria at mealtimes, smuggled them to her, at night, handing them from bed to bed. Probably she didn't need the sugar but it was the only thing we could find to steal. To give.

I am still praying but what I am seeing is Moira's feet, the way they looked after they'd brought her back. Her feet did not look like feet at all. They looked like drowned feet, swollen and boneless, except for the colour. They looked like lungs.

Oh God, I pray. Nolite te bastardes carborundorum.

Is this what you had in mind?

The Commander clears his throat. This is what he does to let us know that in his opinion it's time we stopped praying. "For the eyes of the Lord run to and fro throughout the whole earth, to know himself strong in the behalf of them whose heart is perfect towards him," he says.

It's the sign-off. He stands up. We are dismissed.

CHAPTER SIXTEEN

The Ceremony goes as usual.

I lie on my back, fully clothed except for the healthy white cotton underdrawers. What I could see, if I were to open my eyes, would be the large white canopy of Serena Joy's outsized colonial-style four-poster bed, suspended like a sagging cloud above us, a cloud sprigged with tiny drops of silver rain, which, if you looked at them closely, would turn out to be four-petalled flowers. I would not see the carpet, which is white, or the sprigged curtains and skirted dressing table with its silver-backed brush and mirror set; only the canopy, which manages to suggest at one and the same time, by the gauziness of its fabric and its heavy downward curve, both ethereality and matter.

Or the sail of a ship. Big-bellied sails, they used to say, in poems. Bellying. Propelled forward by a swollen belly.

A mist of Lily of the Valley surrounds us, chilly, crisp almost. It's not warm in this room.

Above me, towards the head of the bed, Serena Joy is arranged, outspread. Her legs are apart, I lie between them, my head on her stomach, her pubic bone under the base of my skull, her thighs on either side of me. She too is fully clothed.

My arms are raised; she holds my hands, each of mine in each of hers. This is supposed to signify that we are one flesh, one being. What it really means is that she is in control, of the process and thus of the product. If any. The rings of her left hand cut into my fingers. It may or may not be revenge.

My red skirt is hitched up to my waist, though no higher. Below it the Commander is fucking. What he is fucking is the lower part of my body. I do not say making love, because this is not what he's doing. Copulating too would be inaccurate, because it would imply two people and only one is involved. Nor does rape cover it: nothing is going on here that I haven't signed up for. There wasn't a lot of choice but there was some, and this is what I chose.

Therefore I lie still and picture the unseen canopy over my head. I remember Queen Victoria's advice to her daughter. Close your eyes and think of England. But this is not England. I wish he would hurry up.

Maybe I'm crazy and this is some new kind of therapy.

I wish it were true; then I could get better and this would go away.

Serena Joy grips my hands as if it is she, not I, who's being fucked, as if she finds it either pleasurable or painful, and the Commander fucks, with a regular two-four marching stroke, on and on like a tap dripping. He is preoccupied, like a man humming to himself in the shower without knowing he's humming; like a man who has other things on his mind. It's as if he's somewhere else, waiting for himself to come, drumming his fingers on the table while he waits. There's an impatience in his rhythm now. But isn't this everyone's wet dream, two women at once? They used to say that. Exciting, they used to say.