"The Robber Bride" - читать интересную книгу автора (Atwood Margaret)

NT—V%r XXX

Under the circumstances, what can Tony withhold? Not very much.

Certainly not money. Zenia has to eat—Zenia, and West too, of course—and how are they to do that unless Tony, replete with the wealth of the dead, will lend Zenia the odd twenty, the odd fifty, the odd hundred, from time to time? And then how is Zenia to pay it back, things being what they are? She has a scholarship of some kind, or so she has implied, but it doesn’t cover the whole shot. In the distant past she panhandled and to a certain extent hooked her way through Europe and across the ocean; although—she tells Tony, as Tony’s eyes widen and blink—she’d much rather roll a nice middle-class drunk any time, it’s quicker and a good deal cleaner. In the more recent past she’s made extra cash by waiting on tables and by cleaning washrooms in second-rate hotels—drudgery is the price of virtue—but when she does that she’s too tired to study.

She’s too tired anyway. Love takes it out of you, and lovenests require feathering, and who does the cooking and laundry and cleaning up around Zenia’s place? Not West, poor angel; man-like, he has trouble cooking an egg or making himself a cup of tea. (Ah, thinks Tony, I could make his tea! She longs for such simple domestic chores, to offer up to West. But she censors this almost immediately. Even the boiling of West’s tea-water would feel like a betrayal of Zenia.)

Also, Zenia indicates, it costs to defy the social order: freedom is not free, it comes with a price. The front lines of liberation get the first bullets. Already Zenia and West aré-paying more than they should for that rat-bag of an apartment because the dirty-minded hypocrite of a landlord has come to suspect they aren’t married. Toronto is so puritanical!

Then how can Tony refuse when Zenia comes to her room one evening, in tears and minus a term paper for Modern History, with barely a moment to spare? “If I flunk this course it’s game over,” she says. “I’ll have to leave university, it’s back on the streets for me. Shit, you don’t know, Tony—you just don’t know! It’s such hell, it’s so degrading, i can’t go back to that! “

Tony is bewildered by her tears; she has thought of Zenia as tearless, more tearless even than herself. And now there are not only tears but many tears, rolling fluently down Zenia’s strangely immobile face, which always looks made-up even when it isn’t. On some other woman the mascara would run; but that isn’t mascara, it’s Zenia’s real eyelashes.

It ends with Tony writing two term papers, one for herself and one for Zenia. She does this nervously: she knows it’s highly risky. She’s stepping over a line, a line she respects. But Zenia is doing Tony’s rebelliousness for her so it’s only fair that Tony should write Zenia’s term paper. Or that is the equation Tony makes, at some level below words. Tony will be Zenia’s right hand, because Zenia is certainly Tony’s left one.

Neither of the term papers is about battles. The Modern History professor, bald-headed, squinty-eyed, leatherelbow-patched Dr. Welch, is more interested in economics than he is in bloodshed, and he has made it clear to Tony—who suggested the out-of-control sack of Constantinople by the Crusaders—that he does not consider war an appropriate subject for girls. So both of the papers are about money. Zenia’s is on the Slavic slave trade with the Byzantine Empire—Tony picked this because of Zenia’s Russian ancestors—and Tony’s is about the tenth-century Byzantine silk monopoly.            .

Byzantium interests Tony. A lot of people died unpleasantly there, most of them for trivial reasons; you could be torn in pieces for dressing wrong, you could be disembowelled for smirking. Twenty-nine Byzantine emperors were assassinated by their rivals. Blinding was a favourite method; that, and jointby-joint dismemberment, and slow starvation.

If the professor hadn’t been so squeamish Tony would have chosen to write about the assassination of the Byzantine emperor Nicephorus Phocas by his beautiful wife, the empress Theophano. Theophano started life as a concubine and worked her way to the top: When her autocratic husband became too old and ugly for her she had him killed. Not only that, she helped to do it. On December 1, 969, she persuaded him to leave his bedroom door unlocked, promising sexual favours, no doubt, and in the middle of the night she entered his room with her younger, better-looking lover, John Tsimisces—who would later have her imprisoned in a convent—and a band of mercenaries. They woke Nicephorus up—he was sleeping on a panther skin, a nice touch—and then John Tsimisces split his head open with a sword. John was laughing.

How do we know that? thinks Tony. Who was there to record it? Was Theophano laughing, as well? She speculates about why they woke him up. It was a sadistic touch; or perhaps it was revenge. By all accounts Nicephorus was a tyrant: proud, capricious, cruel. She pictures Theophano on her way to the assassination, with a purple silk mantle thrown over her shoulders and gold sandals. Her dark hair swirls around her head; her pale face shines in the torchlight. She walks first, and quickly, because the most important element in any act of treachery is surprise. Behind her come the men with swords.

Theophano is smiling, but Tony doesn’t see it as a sinister smile. Instead it’s gleeful: the smile of a child about to put its hands over someone’s eyes from behind. Guess who?

There’s an element of sheer mischief in history, thinks Tony. Perverse joy. Outrageousness for its own sake. What is an ambush, really, but a kind of military practical joke? Hiding yourself, then jumping out and yelling Surprise! But none of the historians ever mentions it, this quality of giddy hide-and-seek. They want the past to be serious. Dead serious. She muses over the phrase: if dead is serious, is alive then frivolous? So the phrasemakers would have it.

Maybe Theophano woke up Nicephorus because she wanted him to appreciate her cleverness before he died. She wanted him to see how duplicitous she was, and how mistaken he had been about her. She wanted him to get the joke.

Both of the papers are up to Tony’s usual standard; if anything, the silk monopoly one is better. But Zenia’s gets an A and Tony’s a mere A minus. Zenia’s reputation for brilliance has affected even Professor Welch, it seems. Or perhaps it’s the way she looks. Does Tony mind? Not particularly. But she notices.

She also feels remorseful. Up until now she has always paid the strictest attention to academic decorum. She never borrows other people’s notes, although she lends them; her footnotes are impeccable; and she is well aware that writing a term paper for someone else is cheating. But it isn’t as if there’s any benefit to herself. Her motives are of the best: how could she turn away her friend? How could she condemn Zenia to a life of sexual bondage? It isn’t in her. Nevertheless, her conscience troubles her, so maybe it’s justice that she’s received a mere A minus. If this is the only punishment in store for her she’ll have gotten off lightly.

Tony composed her two term papers in March, when the snow was melting and the sun was warming up, and the snowdrops were appearing through the mud and old newspapers aftd decaying leaves on front lawns, and people were becoming restive inside their winter coats. Zenia was becoming restive too. She and Tony no longer spent their evenings drinking coffee at Christie’s Coffee Shop on Queen East; they no longer talked intensely, far into what Tony considered the night. Partly Tony didn’t have the time, because the final exams were coming up and her own brilliance was something she had to work at. But also it was as if Zenia had learned all she needed to know about Tony.

The reverse was far from true: Tony was still curious, still fascinated, still avid for detail; but when Tony asked questions, Zenia’s answers—although goodnatured enough—were short, and her eyes wandered elsewhere. She had the same affable but absent-minded attitude towards West now, too. Although she still touched him whenever he came into the room, although she still doled out little flatteries, little praises, she wasn’t concentrating on him. She was thinking about something else.

On a Friday in early April, Zenia climbs in through Tony’s bedroom window in the middle of the night. Tony doesn’t see her do it, because she’s asleep; but suddenly her eyes open and she sits up straight in her bed, and there’s a woman standing in the darkness of the room, her head outlined against the yellowygrey oblong of the window. In the instant of waking Tony thinks it’s her mother. Anthea could not be disposed of so easily, it appears: compressed into a cylinder, tossed into the lake, forgotten. She’s come back to exact retribution, but for what? Or maybe she has returned, far too late, to collect Tony and take her away at last, to the bottom of the deep blue sea, where Tony has no desire to go, and what would she look like if Tony were to turn on the light? Herself, or a bloated watercolour?            ‘

Tony goes cold all over. Where are my clothes? Anthea is about to say, out of the middle of her faceless face. She means her-body, the one that’s been burned up, the one that’s been drowned. What can Tony reply? I’m sorry, I’m sorry.

All this is wordless. What Tony experiences is a complex wave of recognition and dread, shock and the lack of it: the package that comes intact whenever unvoiced wishes come true. She is too paralyzed to scream. She gasps, and puts both hands over her mouth.

“Hi,” says Zenia quietly. “It’s me:”

There’s a pause while Tony recovers herself a little. “How did you get in?” she asks, when her heart is again inaudible.

“The window,” says Zenia. “I climbed up the fire escape:”

“But it’s too high,” says Tony. Zenia is tall, but not tall enough to reach the bottom platform. Is West down there, did he give her a boost? Tony moves to switch on her bedside fight, then thinks better of it. She isn’t supposed to have anyone in her room at this time of night, and dons and busybodies prowl the corridors, on the sniff for cigarette smoke and contraband sex.

“I went up that tree and swung over from the branch,” says Zenia. “Any lunatic could do it. You should really get some sort of a lock on your window” She sits down, cross-legged, on the floor.

“What’s the matter?” says Tony. There has to be something: even Zenia wouldn’t just climb in through somebody’s window in the middle of the night on a passing whim.

“I couldn’t sleep,” says Zenia. They are both almost whispering. “I needed to talk to you. I’m feeling so bad about poor Professor Welch.”

“What?” says Tony. She doesn’t understand.

“About how we cheated on him. I think we should confess. It was forgery, after all,” says Zenia pensively. She’s talking about the term paper, on which Tony spent so much time and generous care. There was nothing dishonest about the paper itself just about the name on it, which was Zenia’s.

Now Zenia wants to tell, and there goes Tony’s life. Many large though shadowy possibilities loom ahead for Zenia—journalism, high finance, even politics have all been mentioned—but university professor has never been among them; whereas for Tony it’s the only thing. It’s her vocation; without it she’ll be useless as an amputated hand. What else can she do? Where else can her pedlar’s pack of knowledge, the doodads and odd fragments and frippery she accumulates like lint, be exchanged for an honest living? Honest: that’s the key. Stripped of her intellectual honesty, her reputation, her integrity, she’ll be exiled. And Zenia is in a position to strip her.

“But I did it to help you!” says Tony, aware even as she says it that her own motives will cut no ice with the authorities. (For a moment she thinks, I could simply deny I wrote the thing. But Zenia has the original, in Tony’s back-slanted handwriting. Naturally she had to copy it out in her own.)

“I know” says Zenia. “But still. Well, maybe IT think differently in the morning. I’m just depressed, I’m down on myself; sometimes I feel so shitty I just want to jump off a bridge, you know? I feel like such an impostor sometimes. I feel I don’t belong here—that I’m just not good enough. Or for West, either. He’s so squeaky clean. Sometimes I’m afraid I’ll get him dirty, or break him, or something. You know the worst of it? Sometimes I want to. When I’m—you know. Under a lot of stress.”

So it’s not only Tony whose life is threatened, but West’s too. From what she’s seen of West and his unquestioning devotion, Tony is convinced that Zenia could indeed wreak havoc. One contemptuous flick of her hand could splatter him all over the sidewalk. How did Zenia get so much power without Tony noticing? Insofar as West is concerned, Tony did notice. But she trusted Zenia to use that power well. She trusted Zenia. Now both she and West are in danger, now she must save them—w both. “Stress?” she says faintly.

“Oh, the money thing. Tony, you wouldn’t know, it’s not something you’ve ever had to deal with. The fucking rent’s a few months behind, and the fucking landlord’s threatening to have us evicted; he says he’ll phone the university and make a stink. There’s no point in even bothering West with any of it—he’s such a baby, he just leaves all those practical things to me. If I told him how much we owe he’d go out and sell his lute, no question; I mean, what else does he have? He’d do anything for me, though it wouldn’t even make a dint, poor lamb; but he’s fond of those sacrificial gestures. I just don’t know what to do. It’s all such a burden, Tony. That’s when I get so fucking depressed!”

Tony has given Zenia money for the rent, several times already. However, she knows what Zerua will say if she men tions this. But Tony! We had to eat! You don’t know what it’s like, to be hungry. You just don’t get it! You don’t know what it’s like to have no money at all!

“How much?” she says in a cold, meticulous voice. It’s a neat piece of blackmail. She’s being bushwhacked. ‘ “A thousand dollars would see us out of the woods,” says Zenia smoothly. A thousand dollars is a great deal of money. It will make a definite hole in Tony’s nest egg. Also it’s much more than could possibly be needed for back rent. But Zenia doesn’t beg, she doesn’t plead. She knows that Tony’s response is a foregone conclusion.

Tony gets out of bed in her polo pyjamas with blue mice in clown suits printed on them, sent to her from California by her mother, left over from when she was fourteen—her nocturnal wardrobe has not been upgraded, because who would ever see it, and one of the things she minds most about this evening in retrospect is that Zenia got a good look at her absurd pyjamas—and goes over to her desk and turns the desk lamp on, briefly, and writes the cheque. “Here,” she says, thrusting it at Zenia.

“Tony, you’re a brick,” says Zenia. “I’ll pay you back later!” Both of them know this isn’t true.

Zenia exits via the window, and Tony goes back to bed. A brick: hard, foursquare, a potential murder weapon. You could bash in quite a few skulls, with a brick. No doubt Zenia will be back later for more money, and then more. Tony has gained nothing but time.

X,Kvl

Two days later West comes to McClung Hall and seeks out Tony, and asks her if she’s seen Zenia, because Zenia is gone. She’s gone from the apartment, she’s gone from the precincts of the university, she appears to be gone from the entire city, because nobody—not the bearded theatrical men, not the thin, ballet-faced, horse-maned women, and not the police, when West finally calls them—knows where she is. Nobody saw her’ go. She is simply not there any more.

Gone with her are the thousand dollars Tony gave her, plus the contents of her joint account with West—two hundred dollars, give or take. There would have been more, but Zenia took some out earlier on the pretext that their good friend Tony, who was not as rich as they’d all thought, had asked her for a temporary loan, being too shy to mention it to West. Gone also is West’s lute, which is located several weeks later by Tony during a diligent and inspired search of secondhand stores, and is purchased by her on the spot. She carries it to the apartment herself and shoves it at West like a lollipop, hoping to soothe his unhappiness. But it makes scarcely any impact on him, where he sits by himself in the middle of the floor, on a large threadbare cushion, staring at the wall and drinking beer.

Zenia has left a letter for West. She did have that much consideration, or—Tony thinks, with her new insight into the twists of Zenia’s soul—that much calculation. My darling, I am not worthy of you. Some day you will forgive me. I will love you till I die. Your loving Zenia. Tony, who has been the recipient of a similar letter, knows what these avowals are worth, which is nothing at all. She knows how such letters can be hung around your neck like lockets made of lead, heavy keepsakes that will drag you down for years. But she understands too West’s need to rely on Zenia’s assurances. He needs them like water, he needs them like air. He would rather believe that Zenia has renounced him out of misplaced nobility than that she’s been taking him for a ride. Women can make fools of men, thinks freshly disabused Tony, even if they weren’t fools to begin with.

West’s desolation is palpable. It envelops him like a cloud of midges, it marks him like a slashed wrist, which he holds out to Tony (mutely, without moving) to be bandaged. Given the choice, she would not have elected the role of nurse and comforter, having been so bad at it with her father. But there isn’t a lot else on offer, and so Tony makes cups of tea for West, and pries him off his cushion, and—not knowing what else to do—takes him out for walks, like a dog or invalid. Together they meander across parks, together they cross at the corners, holding hands like the babes in the wood. Together they silently lament.

West is in mourning, but Tony is in mourning too. They have both lost Zenia, although Tony has lost her more completely. West still believes in the Zenia he has lost: he thinks that if she would only come back and allow herself to be forgiven and cherished and cared for, all could go on as before. Tony knows better. She knows that the person she’s lost has never really existed in the first place. She does not yet question Zenia’s story, her history; indeed, she uses it to explain her: what can you expect of someone with such a mangled childhood? What she questions is Zenia’s good will. Zenia was only using her, and she has let herself be used; she has been rummaged, she has been picked like a pocket. But she doesn’t have much time to feel sorry for herself because she’s too busy feeling sorry for West.

West’s hand lies passively in Tony’s. It’s as if he’s blind: he goes where Tony steers, sucked dry of any will of his own, careless of where he’s headed. Precipice or safe haven, it’s all the same to him. Once in a while he seems to wake; he peers around, disoriented. “How did we get here?” he says, and Tony’s tenderized little heart is wrung.

What bothers her the most is West’s drinking. It’s still only beer, but there’s a lot more of it going into him than there used to be. It’s possible he’s not ever completely sober. Zenia’s absence is like a path, a path Tony recognizes because she’s seen it before. It leads downwards and ends abruptly in a square of bloodstained newspaper, and West stumbles along it as if he’s sleepwalking. She’s powerless to stop him, or to wake him either. What sort of match is skinny, awkward, and boneheaded Tony, with her oversized spectacles and walks in the park and cups of tea, for the memory of shimmering Zenia that West carries next to his heart, or else instead of it?

Tony is worried sick about him. She loses sleep. Inky rings appear beneath her eyes, her skin turns to paper. She writes her final exams in a frantic trance rather than with her usual cool rationality, calling upon reserves of stashed-away knowledge she didn’t even know she had.

West on the other hand doesn’t even turn up, at least for the Modern History exam. The vortex is taking him down.

Roz passes Tony in the hallway of McClung and notes her dreadful appearance.

“Hey. Tone,” she says. (She has reverted to this pet name since the defection of Zenia, which she knows about, of course. The grapevine here has many tendrils. Tony without Zenia is no longer viewed with trepidation, and can be treated as a diminutive again.) “Hey, Tone, how’s it goin’? Holy cow, you look awful.” She puts her big warm hand on Tony’s pointy bird-shoulder. “It can’t be that bad.—What’s the matter?”

Who else does Tony have to talk to? She can’t talk to West about himself, and Zenia is absent. Once upon a time she would have talked to no one, but ever since Christie’s Coffee Shop she has developed an appreciation for confidences. So they go to Roz’s overstuffed room and sit on Roz’s pillowcovered bed, and Tony disgorges.

She doesn’t tell Roz about the forged term paper or the thousand dollars. In any case they are not the story. The story is about West. Zenia is gone, with West’s soul stuffed into her over-the-shoulder bag, and without it West will die. He will kill himself, and then what will Tony do? How will she live with herself?

This isn’t how she puts it though. She outlines the bare facts, and facts they are. She isn’t being melodramatic. Merely objective.

“Listen, sweetie,” says Roz, when Tony stops talking. “I know you like him, I mean, he seems like a nice enough guy, but is he worth it?”

He is, says Tony. He is, he definitely is, but she is without hope. (He will dwindle and fade, as in ballads. He will pine and wane. Then he will blow off his head.)

“Sounds to me he’s acting like a jerk! Zenia’s a floozie, we all knew that. A couple of years ago she went through half the fraternities—more than half! You never heard that poem about her—‘Trouble with your penia? Try Zenia!’ He should wake up, eh?” says Roz, who has yet to encounter love, having yet to encounter Mitch. She has however just encountered sex and thinks it’s the new wonder drug, and she’s always had trouble keeping secrets. She lowers her voice. “You should take him to bed,” she says, nodding her head sagely. She’s enjoying the role of wise woman, counsellor to the afflicted. It helps not to be afflicted yourself

“Me?” says Tony. The girls in McClung Hall, although they talk endlessly about their boyfriends, are never very specific about what they actually do with them. If they go to bed with them they don’t mention it. Zenia is the only person Tony’s ever known who has been at all open about sex, until right now.

“So who else?” says Roz. “You need to make him feel wanted. Give him an interest in life:”

“Oh, I don’t think I could do that,” says Tony. The thought of going to bed with anyone at all is terrifying. What if they rolled over on her by mistake, and she got squashed? Also the thought of giving another person that much power over her makes her flinch. Let alone her reluctance to be pawed and drooled on. Zenia was frank about sex, but she didn’t make it sound all that attractive.

Still, thinking about it, Tony has to admit that if there’s one person she might be able to tolerate, it would be West. Already she holds his hand, on their walks; it’s nice. But the concrete details defeat her. How would she lure West into such a place as bed, and which bed? Not her own narrow bed in McClung Hall—that’s out of the question, too many eyes are on her, you can’t even eat cookies in your room without everyone finding out—and surely not the same bed he’s been sleeping in with Zenia. It wouldn’t be right! Also, she doesn’t know how such things are done. In theory, yes, she knows what goes where, but in practice? One of the hurdles is conversational: what would she say? And even if she could successfully manoeuvre West into the physical location, what would happen then? She is too small, and West is too big. She would be shredded.

She loves West, though. That much is very clear to her. And isn’t it a matter of saving his life? It is. So heroism and self-sacrifice are called for.

Tony grits her teeth and sets out to seduce West. She is every bit as inept at it as she has feared she’ll be. She tries bringing some candles over to West’s apartment and cooking a candlelight dinner, but her activity in the kitchen seems only to depress West further, because Zenia was such a marvellous and inventive cook; in addition to which Tony burns the tuna casserole. She takes him to movies, leading him to cheap and

Silly horror films that give her a chance to clutch his hand in the dark when the vampires bare their fangs and the rubber head rolls down the staircase. But whatever she does West chooses to regard as simply the ministrations of friendship: Or so it appears to Tony. To her despair, but also—partly—to her relief, he views her as a loyal sidekick, and that is that.

It’s June, it’s warm, the university term is over but Tony has signed up for a summer course, as usual, so she won’t have to move out of her room at McClung Hall. One afternoon she goes over to West’s place to do his accumulated mildewed dishes and to take him out for his walk, and finds him asleep on his bed. His eyelids are curved and pure, like those on carved tombstone saints; one arm is thrown up over his head. Breath goes into him, breath goes out: she is so grateful that he is still, as yet, alive. His hair—uncut for weeks—is ragged on his head. He looks so sad lying there, so deserted, so lacking in threat, that she sits carefully down beside him, bends gingerly over, and gives him a kiss on the forehead.

West doesn’t open his eyes, but his arms come around her. “You’re so warm, he murmurs into her hair. “You’re so kind to me.

Nobody has ever called Tony warm and kind before. No man has ever put his arms around her. While she is still getting used to it, West begins to kiss her. He gives her small kisses, all over her face. His eyes are still closed. “Don’t go away,” he whispers. “Don’t move.”

Tony can’t move anyway, because she is paralyzed with apprehension. She is dismayed by her own lack of bravery, and also by the sheer magnitude of West’s body, now that she’s so close to it. She can actually see the stubs of whiskers coming out of his chin! Usually they’re too high up for that. It’s like seeing the ants on a falling boulder, just before it crushes you. She feels acutely menaced.

But West is very gradual. He slides off her glasses; then he undoes one button at a time, fumbling as if his fingers are asleep, and pulls his raspy blanket over her, and smooths her as if she’s a velvet cushion, and although it does indeed hurt, as the books have said, it’s less like being torn apart by wild beasts than she’d supposed, given all that growling that used to go on with Zenia, and more like falling into a river, because West is what other people call him, a long drink of water, and Tony is so thirsty, she’s parched, she’s been wandering in the desert all of these years, and no-%w at last somebody truly needs her for something, and in the end she discovers what she’s always wanted to know: she is bigger inside than out.

In this way Tony, proud of herself and filled with the joy of giving, drags West from the field of defeat and carts him off behind the lines, and tends his wounds, and mends him. He has been broken, but he knits together after a time. Though not perfectly. Tony is conscious of the scar, which takes the form of a low-level anxiety: West is convinced he’s failed Zenia. He thinks she’s been tossed out into the back alley of the world, to fend (badly) for herself; because he wasn’t capable enough or smart enough or simply enough for her. He thinks she needs his protection, but Tony must keep her sneers about this to herself. There is no rival like an absent one. Zenia is not there to defend herself, and for this reason Tony can’t attack her. Chivalry as well as wisdom ties her hands.

West goes back to university in the fall and makes up the courses he’s missed. Tony is now in graduate school. They rent a small apartment together and share tidy breakfasts and sweet, kindly nights, and Tony is happier than she’s ever been.

Time passes and they both get their first postgraduate degrees, and both of them acquire teaching assistantships. After a while they get married, at City Hall; the party afterwards is small and intellectual in tone, although Roz is there, married herself already. Her husband Mitch can’t come, she explains; he’s away on a business trip. She gives Tony an enveloping hug and a silver telephone cover, and after she leaves (early), Tony’s historical and West’s musical colleagues ask with ironic eyebrows who on earth that was. Her presence however has reassured Tony: although her own parents’ marriage was a disaster, marriage itself must be possible and even normal if Roz is doing it.

West and Tony move into a larger apartment, and West buys a spinet, to go with his lute. He has a suit now, and several ties, and eyeglasses. Tony buys a coffee grinder and a roasting pan, and a copy of TheJoy of Cooking, in which she looks up esoteric recipes. She makes a hazelnut torte, and buys a fondue dish with long forks, and some skewers for making shish kebab.

More time passes. Tony wonders about having babies, but doesn’t bring up the subject because West has never mentioned it. There are peace marches in the streets now, and confused sitins at the university. West brings home some marijuana, and they smoke it together, and are frightened together by noises on the street outside, and don’t do it again.

Their love is gentle and discreet. If it were a plant it would be a fern, light green and feathery and delicate; if a musical instrument, a flute. If a painting it would he a water lily by Monet, one of the more pastel renditions, with its liquid depths, its reflections, its different falls of light. “You’re my best friend,” West tells Tony, stroking her hair back from her forehead. “I owe you a lot:” Tony is touched by his gratitude, and too young to be suspicious of it.

They never mention Zenia, Tony because she thinks it will upset West, West because he thinks it will upset Tony. Zenia does not go away, however. She hovers, growing fainter, true, but still there, like the blue haze of cigarette smoke in a room after the cigarette has been put out. Tony can smell her.

One evening Zenia appears at their door. She knocks like anybody else and Tony opens, thinking it is a Girl Guide selling cookies, or else the Jehovah’s Witnesses. When she sees Zenia standing there she can’t think of what to say. She’s holding a skewer in her hand, with chunks of lamb and tomato and green pepper threaded onto it, and for an instant she has a vision of herself plunging the skewer into Zenia, into where her heart should be, but she doesn’t do this. She just stands there with her mouth open, and Zenia smiles at her and says, “Tony darling, it was such work to track you down!” and laughs with her white teeth. She’s thinner now, and even more sophisticated. She’s wearing a black mini-skirt, a black shawl with jet beading and long silken fringes, fishnet tights, and knee-high lace-up high-heeled boots.

“Come in,” says Tony, motioning with her skewer. Lamb blood drips onto the floor.

“Who is it?” calls West from the living room, where he’s playing Purcell on the spinet. He likes to play while Tony is making dinner: it’s one of their little rituals.

Nobody, Tony wants to say. They had the wrong address. They went away. She wants to thrust her hands at Zenia, push her back, slam the door. But Zenia is already over the threshold.

“West! My God!” she says, striding into the living room, holding out her arms to him. “Long time no see!” West can’t believe it. His eyes behind his rimless glasses are the shocked eyes of a burned baby, the amazed eyes of an interstellar traveller. He doesn’t get up, he doesn’t move. Zenia takes his upturned face in her two hands and kisses him twice, once on each cheek, and then a third time on the forehead. The fringes of her shawl caress him, his mouth is level with her chest. “It’s so good to see old friends,” says Zenia, breathing out.

Somehow or other she ends up staying for dinner, because who are Tony and West to hold grudges, and what is there to hold them about anyway? Wasn’t it Zenia’s defection that brought them together? And aren’t they touchingly happy? Zenia tells them they are. They’re just like a couple of kids, she says, kids on one long picnic, playing sand castles at the beach. So darling! She says she’s delighted to see it. Then she sighs, implying that life has not treated her as well as it’s been treating them. But then, she hasn’t had their advantages. She s-lived on the edges, out there where it’s dark and sharp and there are scarcities. She’s had to forage.

Where has she been? Well, Europe, she says, gesturing towards a higher, a deeper culture; and the States, where the big folks play; and the Middle East. (With a wave of her hand she invokes deserts, date palms, mystic knowledge, and better shish kebab than anything capable of being grilled in Tony’s wee Canadian oven.) She avoids saying what she’s been doing in these places. This and that, she says. She laughs, and says she has a short attention span.

About the money she made off with she tactfully says nothing, and Tony decides that it would be parochial of her to bring it up. Zenia does say, “Oh, there’s your wonderful lute, I always loved it,” as if she has no memory whatsoever of her own kidnapping of this instrument. West seems to have no memory of it either. At Zenia’s request he plays a few of the old songs; though he doesn’t do folksongs much any more, he says. By now he’s into a cross-cultural study of polyphonal chants.

No memory, no memory. Does nobody but Tony have any memory at all? Apparently not; or rather West has no memory, and Zenia’s is highly selective. She gives little nudges, little hints, and assumes a rueful expression: she has regrets, is what she implies, but she has sacrificed her own happiness for that of West. Hearth and home are what he needs, not a feckless, mossless rover like Zenia, and Tony is such a busy little housewife—isn’t this cunning food! West is where he belongs: like a houseplant in the right window, just look how he’s flourishing!

“You two are so lucky,” she whispers to Tony, a mournful catch in her voice. West overhears, as he is meant to.

“Where are you staying?” Tony asks politely, meaning, when are you leaving.

“Oh, you know,” says Zenia with a shrug. “Here and there. I live from hand to mouth—or from feast to famine. Just like the old days, remember, West? Remember our feasts?” She’s eating a Viennese chocolate, from a box West brought home to surprise Tony. He often brings her little treats, little atonements for the part of himself he’s unable to give her. Zenia licks the dark chocolate from her fingers, one by one, gazing at West from between her eyelashes. “Delicious,” she says richly.

Tony can’t believe that West doesn’t see through all this, this blandishment and prestidigitation, but he doesn’t. He has a blind spot: his blind spot is Zenia’s unhappiness. Or else her body. Men, thinks Tony with new bitterness, can’t seem to tell one from the other.

A few days after that, West comes home later than usual. “I took Zenia out for a beer,” he tells Tony. He has the air of a man who is being scrupulously honest even though he’s been tempted not to be. “She’s having a rough time. She’s a very vulnerable person. I’m quite worried about her.”

Vulnerable? Where did West pick up that word? Tony thinks Zenia is about as vulnerable as a cement block, but she doesn’t say so. Instead she says something almost as bad. “I suppose she wants some money.”

West looks hurt. “Why don’t you like her?” he asks. “You used to be such good friends. She’s noticed, you know. She’s upset about it:”

“Because of what she did to you,” says Tony indignantly. “That’s why I don’t like her!”

West is puzzled. “What did she do to me?” he asks. He really doesn’t know.

In no time at all—actually in about two weeks—Zenia has reclaimed West, in the same way she might reclaim any piece of property belonging to her, such as a suitcase left at a train station. She simply tucks West under her arm and walks off with him. It doesn’t look like that to him, naturally; just to Tony. To West it looks as if he’s on a rescue mission, and who is Tony to deny the attraction of that?

“I admire you a lot,” he says to Tony. “You’ll always be my best friend. But Zenia needs me.”

“What does she need you for?” says Tony in a small clear voice.

“She’s suicidal,” says West. “You’re the strong one, Tony. You’ve always been so strong.”

“Zenia is as strong as an ox,” says Tony.

“It’s just an act,” says West. “I always knew that about her. She’s a deeply scarred person:” Deeply scarred, thinks Tony. That can’t be anyone’s vocabulary but Zenia’s. West has been hypnotized: it’s Zenia talking, from the inside of his head. He goes on: “She’s going to fall apart completely unless I do something:”

Something means that West will move in with Zenia. This, according to West, will give Zenia back some of her lost confidence in herself. Tony wants to hoot with derisive laughter, but how can she? West is gazing at her earnestly, willing her to understand and to absolve him and to give him her blessing, just as if he were still in control of his own brain. But instead he’s a zombie.

He’s holding Tony’s hands, at the kitchen table. She withdraws them and gets up and goes into her study, and shuts the door, and immerses herself in the Battle of Waterloo. After it was over the victorious soldiers celebrated, and drank all night, and roasted the flesh of the butchered cavalry horses on the metal breastplates of the dead, leaving the wounded to moan and scream in the background. Winning intoxicates you, and numbs you to the sufferings of others.

How well she did it, thinks Tony. How completely she took us in. In the war of the sexes, which is nothing like a real war but is instead a kind of confused scrimmage in which people change allegiances at a moment’s notice, Zenia was a double agent. Or not even that, because Zenia wasn’t working for one side or the other. She was on no side but her own. It’s even possible that her antics—Tony is old enough, now, to think of them as antics—had no motive other than her own whim, her own Byzantine notions of pleasure. Maybe she hed and tortured just for the fun of it.

Though part of what Tony feels is admiration. Despite her disapproval, her dismay, all her past anguish, there’s a part of her that has wanted to cheer Zenia on, even to encourage her. To make her into a saga. To participate in her daring, her contempt for almost everything, her rapacity and lawlessness. It’s like the time her mother disappeared downhill on the toboggan. No! No! On! On!

But the recognition of that came later. At the time of West’s defection she was devastated. (Devastate, verb, to lay waste, to render desolate; a familiar enough term in the literature of war, thinks Tony in the cellar, surveying her sand-table and the ruins of Otto’s army, and eating another clove.) She refused to cry, she refused to howl. She listened to West’s footsteps as he tiptoed around the apartment, as if in a hospital. When she heard the apartment door shut behind him she scuttled out and double-locked it, and put on the chain. Then she went into the bathroom and locked that door, too. She took off her wedding ring (simple, gold, no diamonds), intending to drop it down the toilet, but instead she placed it on a cabinet shelf, next to the disinfectant. Then she subsided onto the bathroom floor.

American Standard, said the toilet. Dradnats Nacirema. A Bulgarian skin ointment.

After a while she came out of the bathroom because the phone was ringing. She stood there looking at it, it and its bridal silver telephone cover; it continued to Ping. She lifted it. then dropped it down again. There was nobody she wanted to talk to. She wandered into the kitchen but there was nothing she wanted to eat.

Some hours later she found herself opening the box of old Christmas decorations where she also kept her father’s German pistol, wrapped in red tissue paper. There were even some bullets for it, in a metal cough-drop tin. She’d never shot a gun in her life, but she knew the theory.

You need some sleep, she told herself She could not stand the idea of sleeping in her desecrated bed, so she went to sleep finally in the living room, underneath the spinet. She had some thoughts of destroying it, with something—the meat cleaver?—but decided that could wait until morning.

When she woke up it was noon, and someone was pounding on the door. Probably it was West, .come back because he’d forgotten something. (His underwear was gone from the drawer, his neatly arranged socks, washed by Tony and folded carefully in pairs. He’d taken a suitcase.)

Tony went to the door. “Go away,” she said.

“Sweetie, it’s me,” said Roz on the other side. “Open the door, honey, I really need to go to the can, I’m about to flood this entire floor.”

Tony didn’t want to let Roz in because she didn’t want to let anyone in, but she could not turn away a friend in urinary need. So she took off the chain and undid the locks and in waddled Roz, pregnant with her first baby. “This is just what I needed,” she said ruefully, “a bigger body. Hey! I’m eating for five!” Tony didn’t laugh. Roz looked at Tony’s face, then put her fattening arms around Tony. “Oh honey;” she said; then, with new-found knowledge, both personal and political, “Men are such pigs!”

Tony had a twinge of indignation. West was not a pig. He wasn’t even shaped like one. An ostrich, perhaps. It’s not West’s fault, she wanted to say. It’s her. I loved him but he never really loved me. How could he? He was occupied territory,—all along. But she couldn’t say anything about this, because she couldn’t speak. Also she couldn’t breathe. Or rather she could only breathe in. She breathed in and in and finally made a sound, a wail, a long wail that went on and on, like a distant siren. Then she burst into tears. Burst, like a paper bag full of water. She couldn’t have burst like that if the tears hadn’t been there all along, a huge unfelt pressure behind her eyes. The tears cascaded down her cheeks; she licked her lips, she tasted them. In the Middle Ages they thought that only those without souls could not cry. Therefore she had a soul. It was no comfort.

“He’ll come back,” said Roz. “I know he will. What does she need him for? She’ll just take one bite out of him and throw him away.” She rocked Tony back and forth, back and forth, the most mother that Tony had ever had.

Roz moved into Tony’s apartment, just until Tony could function. She had a housekeeper, and her husband Mitch was away again, so she didn’t need to be at her own house. She phoned the university and cancelled Tony’s classes, saying that Tony had strep throat. She ordered in groceries, and fed Tony canned chicken noodle soup, caramel pudding, peanut butter and banana sandwiches, grapejuice: baby food. She made her take a lot of baths and played soothing music to her, and told her jokes. She wanted to install Tony in her Rosedale mansion, but Tony didn’t want to leave the apartment, even for a second. What if West should come back? She didn’t know what would happen if he did, but she knew she needed to be there. She needed to have the choice of slamming the door in his face or falling into his arms. She didn’t want to choose, though. She wanted to do both.

“He called you, didn’t he?” said Tony after a few days of this, when she was feeling less gutted.

“Yeah,” said Roz. “You know what he said? He said he was worried about you. That’s kind of cute:”

Tony didn’t think it was cute. She thought it was Zenia, putting him up to it. Twisting the knife.

It was Roz who suggested Tony should give up the apartment and buy a house. “The prices are great right now! You’ve got the down payment—just cash in some of those bonds. Look—think of it as an investment. Anyway, you should move out of here. Who needs the bad memories, eh?” She got Tony a good real estate agent, drove around with her from house to house, clambered panting up and down the stairs, peering at furnaces and dry rot and wiring. “Now this—this is a deal,” she whis=pered to Tony. “Ask low—see what they say! A few repairs and this could be gorgeous! Your study goes in the tower, just ditch the fake wood panelling, get rid of that linoleum—it’s maple underneath, I looked. It’s buried treasure, trust me! Once you’re out of the old place, things will be tons better.” She got a much bigger charge out of buying the house than Tony did. She found Tony a decent contractor, and dictated the paint colours. Even at the best of times Tony would have been incapable of making such arrangements herself.

After Tony moved in, things were indeed better. She liked the house, though not for any reasons that Roz would have approved. Roz wanted the house to be the centre of the new, outgoing life she envisaged for Tony, but for Tony it was more like a convent. A convent of one. She didn’t belong in the land of the adults, the land of the giants. She shut herself up in her house like a nun, and went out only for supplies.

And for work, of course. Lots of work. She worked at school and also at home; she worked nights and weekends. She got pitying looks from her colleagues, because gossip travels through universities at the speed of influenza and they all knew about West, but she didn’t care. She skipped regular meals and snacked on cheese food and crackers. She booked an answering service so she couldn’t be disturbed while thinking. She did not answer the doorbell. It did not ring.

Tony in her turret room works late into the night. She wants to avoid bed, and sleep, and especially dreaming. She is having a dream, a recurring one; she has the feeling that this dream has been waiting for her a long time, waiting for her to enter it, reenter it; or that it has been waiting to re-enter her.

This dream is underwater. In her waking life, she is no swimmer; she has never liked immersing herself, getting cold and wet. The most she’ll trust herself to is a bathtub, and on the whole she prefers showers. But in the dream she swims effortlessly, in water as green as leaves, with sunlight filtering down through it, dappling the sand. No bubbles come out of her mouth;—she is not conscious of breathing. Beneath her, coloured fish flit away, darting like birds.

Then she comes to an edge, a chasm. Like going down a hill she drops over it, slides diagonally through the increasing darkness. The sand falls away under her like snow. The fish here are larger and more dangerous, brighter—phosphorescent. They light up and dim, flash on and off like neon signs, their eyes and teeth glowing—a gas-flame blue, a sulphur yellow, a red the colour of embers. Suddenly she knows she isn’t in the sea at all but miniaturized, inside her own brain. These are her neurons, the crackle of electricity touching them as she thinks about them. She looks at the incandescent fish with wonder: she is watching the electrochemical process of her own dreaming!

If so, then what is that, on the dim level white sand at the bottom? Not a ganglion. Someone walking away from her.

She swims faster but it’s no use, she’s held in place, an aquarium goldfish bumping its nose against glass. Reverof, she hears. The backwards dream language. She opens her mouth to call, but there is no air to call with and water rushes in. She wakes up gasping and choking, her throat constricted, her face streaming with tears.

Now that she’s started to cry it seems impossible to stop. In the daytime, in the lamplight, when she can work, she can keep this weeping locked away. But sleep is fatal. Fatal and unavoidable.

She takes off her glasses and rubs her eyes. From the street her room must look like a lighthouse, a beacon. Warm and cheerful and safe. But towers have other uses. She could empty boiling oil out the left-hand window, get a dead hit on anyone standing at the front door.

Such as West or Zenia, Zenia and West. She broods about them too much, them and their entangled bodies. Action would be better. She thinks about going over to their apartment (she knows where they’re living, it wasn’t hard to find out, West is listed in the university directory) and confronting Zenia. But what would she say? Give him back? Zenia would just laugh. “He’s a free agent,” she would say. “He’s a grown-up, he can make his own choices:” Or something like that. And if she were to turn up on Zenia’s doorstep, to whine and beg and plead, wouldn’t that be just what Zenia wanted?

She recalls a conversation she had with Zenia, early on, in the days when they were drinking coffee at Christie’s and Zenia was such a friend.

“Which would you rather have?” said Zenia. “From other people. Love, respect, or fear?”

“Respect,” said Tony. “No. Love.”

“Not me,” said Zenia. “I’d choose fear.”

“Why?” said Tony.

“It works better,” said Zenia. “It’s the only thing that works.”

Tony remembers having been impressed by this answer. But it wasn’t fear through which Zenia had stolen West. Not a show of strength. On the contrary, it was a show of weakness. The ultimate weapon.

She could always take the gun.

For almost a year there was no word from West; no mention—for instance—of lawyers or divorce; not even any petitions about the spinet and the lute, which Tony was holding captive in her new living room. Tony knew why West was so wordless. It was because he felt too awful about what he’d done, or rather what had been done to him. He felt too ashamed.

After a while he began to leave timid messages with Tony’s answering service, suggesting they get together for a beer. Tony did not reply, not because she was angry with him—she wouldn’t have been angry with him if he’d been run over by a truck, and she viewed seduction by Zenia as analogous—but because she couldn’t imagine what form any conversation between the two of them might take. How are you and Fine would about cover it. Thus when he finally turned up at her door, her new house door, the door of her nunnery, she simply stared at him.

“Let me in?” said West. Tony could tell at a glance that’it was all finished between Zenia and West. She could tell from the colour of his skin; which was a light greenish grey, and from his sagging shoulders and dejected mouth. He’d been dismissed, sacked, ejected. He’d been kicked in the nuts.

He looked so pitiful, so pulled apart—as if he’d been on the rack, as if every one of his bones had been disconnected from every other bone, leaving only a kind of anatomical jelly—that of course she let him in. Into her home, into her kitchen, where she made him a hot drink, and ultimately into her bed, where he clutched her, shivering. It was not a sexual clutch, it was the clutch of a man drowning. But Tony was in no danger of being dragged down. She felt, if anything, strangely dry; strangely detached from him. He might be drowning, but this time she was standing on the beach. Worse: with binoculars.

She began again to cook small dinners, to boil breakfast eggs. She remembered how to care for him, how to pat him back into shape, and she did it again; but this time with fewer illusions. She still loved him, but she didn’t believe he would ever love her in return, not to the same extent. How could he, after what he’d been through? Could a man with one leg tapdance?

Nor could she trust him. He might crawl out of his depression, tell her how good she was, bring home treats for supper, go through the routines; but if Zenia were to return, from wherever she had gone—and even West didn’t seem to know—then all of these fond habits would count for nothing. He was only on loan. Zenia was his addiction; one sip of her and he’d be gone. He’d be like a dog summoned by a supersonic whistle, inaudible to human ears. He would run off.

She never mentioned Zenia: to dwell on her might be to invoke her. But when Zenia died, when she was blown up and safely encapsulated and planted under a mulberry tree, Tony no longer needed to fear the doorbell. Zenia was no longer’ a menace, not in the flesh. She was a footnote. She was history.

Now Zenia is back, and hungry for blood. Not for West’s blood: West is an instrument merely. The blood Zenia wants to drink is Tony’s, because she hates Tony and always has. Tony could see that hatred in her eyes today, at the Toxique. There’s no rational explanation for such hatred, but it doesn’t surprise Tony. She seems to have been familiar with it for a long time. It’s the rage of her unborn twin.

Or so thinks Tony, removing the vestiges of Otto the Red’s fallen army with her tweezers, installing the Saracens in their freshly captured territory. The flag of Islam flies above the corpse-strewn Italian beaches, while Otto himself escapes by sea. His defeat will inspire the Slavic Wends to make another looting and pillaging foray into Germany; it will motivate uprisings, rebellions, a return to the old cannibal gods. Brutality, counter-brutality, chaos. Otto is losing his grip.

How could he have won this battle? Hard to say. By avoiding recklessness? By drawing the enemy out first to estimate its strength? Strength and cunning are both essential, but each without the other is valueless.

Tony herself, lacking strength, will have to rely on cunning. In order to defeat Zenia she will have to become Zenia, at least enough to anticipate her next move. It would help if she knew what Zenia wanted.

Tony turns out the cellar lights and climbs the stairs to the kitchen, where she runs herself a glass of water out of the spring-water dispenser foisted on her by Charis. (As full of chemicals as anything else, she knows; but at least there’s no chlorine. Eau de Swimming Pool, is what Roz calls the Toronto tap water.) Then she unlocks the back door and creeps out into the yard, into its flora of dry thistles and tree trunks and unpruned shrubs, its fauna of mice. Raccoons are regulars; squirrels make untidy nests in the branches. Once they had a skunk back here, hunting for grubs, rolling up what vestiges of turf remain; once a chipmunk, miraculous survivor of the neighbourhood gamut of cats.

It refreshes Tony to sneak around at night, from time to time. She enjoys being awake when others are asleep. She enjoys occupying dark space. Maybe she will see things other people can’t see, witness nocturnal events, gain rare insights. She used to think that as a child, too—tiptoeing through the house, listening at doors. It didn’t work then, either.

From this vantage point she has a novel view of her own house: the view of a lurking enemy commando. She thinks about how the house would look if she or anyone else were to blow it up. Study, bedroom, kitchen, and hall, suspended in fiery mid-air. Her house is no protection for her, really. Houses are too fragile.

The kitchen lights go on, the back door opens. It’s West, a gangling silhouette, backlighted, his face indistinct. “Tony?” he calls anxiously. “Are you out there?”

Tony savours his anxiety, just a little. True, she adores him, but there’s no such thing as an unmixed motive. She waits for a moment, listening, in her moonlit weedy garden, blending—possibly—with the dappled silvery shadows cast by the trees. Is she invisible? The legs of West’s pyjamas are too short, and so are the arms; they lend him an untended air, like that of a Frankenstein monster. Yet who could have tended him—over the years, and apart from finding some pyjamas that would fit—better than Tony? If she had done it unwillingly she might deserve to feel aggrieved. Is that how grievance works? I’ve given you the best years of my life! But for a gift you don’t expect a return. And who would she have given them to otherwise; those years?

“I’m here,” she says, and he comes outside and down the back porch steps. He has his slippers on, she’s relieved to see, although not his dressing gown.

“You were gone,” he says, stooping down towards her, peering. “I couldn’t sleep:”

“Neither could I,” she says. “So I did some work, and then I came out for a breath of fresh air.”

“I don’t think you should wander around outside at night,” he says. “It’s not safe.”

“This isn’t wandering,” she says, amused. “It’s our backyard:”

“Well, there might be muggers,” he says.

She takes his arm. Under the thin cloth, under the flesh, within the arm itself, she can feel another arm forming: the arm of an old man. His eyes shine milky white in the moonlight. Blue eyes, she’s read, are not the basic colour of human eyes; probably they grew from a mutation, and are therefore more prone to cataracts. She has a quick vision of West, ten years older and stone blind, herself leading him tenderly by the hand. Training the seeing-eye dog, arranging the library of books-on-tape, the collection of electronic noises. What would he do without her?

“Come inside,” she says. “You’ll catch cold:”

“Is anything wrong?” he says.

“Not a thing,” she lies pleasantly. “I’ll make us some hot milk.”

“Good,” he says. “We can put some rum in it. Look at that moon! There’s been men playing golf, up there.”

He is so ordinary, so cherished, so familiar to her; like the smell of the skin on her own forearm, like the taste of her fingers. She would like to hang a sign on him, like the metal ones for liquor bottles or the plasticized ones at conventions: Gnissapsert On. She hugs, him, standing on tiptoe, stretching her arms as far around him as they can go. They don’t reach all the way.

How long can she protect him? How long before Zenia descends on them, with her bared incisors and outstretched talons and banshee hair, demanding what is rightfully hers?