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

XXXII

It’s a sunless noon. Charis is in her garden, watched by the hens, who peer greedily through the hexagons of their wire fence, and by the remaining cabbages, goggling at her like three dull green goblin-heads emerging from the ground. The garden in November has a mangy, thumbed appearance: wilted marigolds, nasturtium leaves faded a pale yellow, the stumps of broccoli, the unripe tomatoes frost-killed and mushy, with silvery slug tracks wandering here and there.

Charis doesn’t mind this vegetable disarray. It’s all ferment, all fertilizer. She lifts her spade, shoves it into the earth, and steps on the top edge of its blade with her right foot in Billy’s rubber boot, digging in. Then she heaves, grunting. Then she turns over the shovelful of soil. Worms suck themselves back into their tunnels, a white grub curls. Charis picks it up and tosses it relentlessly over the fence, in for the gabbling hens. All life is sacred but hens are more sacred than grubs.

The hens fluster and racket and abuse one another, and chase the one with the grub. Charis once thought it might be a good spiritual discipline to refuse to feed her hens anything she wouldn’t eat herself, but she has since decided that this would be pointless. The ground-up shells, for instance, the crushed bones—hens need them to make eggs, but Charis doesn’t.

It’s the wrong season of the year to be turning the garden. She should wait till spring, when the new weeds poke through; she’ll have to do it all over again at that time. But this is the only way she can be out of the house without either Zenia or Billy wanting to come with her. Each is eager to be with her alone, away from the other one. If she tries to go for a walk, just to be by herself for a short time, just to unwind, there’s a rush for the door: a subdued, oblique rush (Zenia) or a gangling, obvious one (Billy). Then there’s a psychic collision, and Charis is forced to choose. It’s bothering her a lot. But luckily, neither one of them has any great desire to help her dig up the garden. Billy doesn’t like mucking in the dirt—he says why do so much work, because all that comes up is vegetables—and Zenia of course is in no shape. She is managing to take feeble, occasional walks, down to the lakeshore and back, but even those exhaust her.

Zenia has been here for a week now, sleeping on the sofa by night, resting on it by day. The evening of her arrival was almost festive—Charis ran a hot bath for her and gave her one of her own white cotton nightgowns to put on, and hung her wet clothes up on the hooks behind the stove to dry, and after Zenia was finished with the bath and had put on the nightgown Charis wrapped her in a blanket and sat her in a chair beside the stove, and combed her wet hair, and made her a hot milk with honey. It pleased Charis to do these things; she experienced herself as competent and virtuous, overflowing with good will and good energy. It pleased her to give this energy to someone so obviously in need of it as Zenia. But by the time she’d settled Zenia on the sofa and had gone upstairs to bed, Billy was angry with her, and he’s been angry ever since. He’s made it clear that he doesn’t want Zenia in the house at all.

“What’s she doing here?” he whispered that first night. “It’s just for a bit,” said Charis, whispering too because she didn’t want Zenia to hear them and feel unwanted. “We’ve had lots of others. On the same sofa! It’s no different:”

“It’s way different,” said Billy. “They don’t have any place else to go:”

“Neither does she,” said Charis. The different thing, she was thinking, was that the others were Billy’s friends and Zenia was hers. Well, not friend exactly. Responsibility.

That was before Billy had even laid eyes on Zenia, or spoken a single word to her. The next day he’d grunted a surly “Morning” over the scrambled eggs—not home-grown, unfortunately, the hens had dried up—and the toast with apple jelly that Charis was serving to both of them. He’d hardly looked at Zenia where she sat hunched over, still in Charis’s nightgown. with a blanket wrapped around her, sipping her weak tea. If he had looked, thought Charis, he would have relented, because Zenia was so pitiable. Her eye was still discoloured and swollen, and you could practically count the blue veins on the backs of her hands.

“Get her out of here,” said Billy when Zenia had gone to the bathroom. “Just out:’

“Shh,” said Charis. “She’ll hear you!”

“What do we know about her, anyway?” said Billy.

“She has cancer,” said Charis, as if this was all anyone needed to know.

“Then she should be in a hospital,” said Billy.

“She doesn’t believe in them,” said Charis, who didn’t either.

“Bullshit,” said Billy.

This remark struck Charis as not only ungenerous and crude, but faintly sacrilegious as well. “She has that black eye,” she murmured. The eye was living proof of something or other. Of Zenia’s neediness, or else her goodness. Of her status.

“I didn’t give it to her,” said Billy. “Let her go eat someone else’s food.” Charis was incapable of mentioning that if anyone ought to decide who ate what around this place it should be her, since she was the one who either grew it or paid for it herself.

“He doesn’t like me, does he?” said Zenia, when Billy in his turn was out of hearing. Her voice quivered, her eyes were filling. “I’d better go .. :”

“Of course he does! It’s just his way,” said Charis warmly. “Now you stay right where you are!”

It took Charis a while to figure out why Billy was so hostile to Zenia. At first she thought it was because he was afraid of her—afraid she would tell on him, tip off the wrong people, turn him in; or that she would just say something to someone by accident, something indiscreet. Loose lips sink ships used to be a slogan, during the war, the old war; it was on posters, and Charis’s Aunt Viola used to quote it as a sort of joke, to her friends, in the late forties. So Charis explained all that to Zenia, how precarious Billy felt and how difficult things were for him. She even told Zenia about the bombs, about blowing things up, and about how Billy might get kidnapped by the Mounties. Zenia promised not to tell. She said she understood perfectly.

“I’ll be careful, cross my heart,” she said. “But Karen—sorry Charis—how did you get mixed up with them?”

“Mixed up?” said Charis.

“With the draft dodgers,” said Zenia. “The revolutionaries. You never struck me as a very political person. At university, I

mean. Not that there were a whole bunch of revolutionaries, around that dump.”

It hadn’t occurred to Charis that Zenia would have taken any notice of her at all, back then, back in her vague, semi-forgotten university days, when she was still Karen, outwardly at least. She hadn’t participated in anything, she hadn’t stood out. She had stayed in the shadows, but it turned out that Zenia at least had spotted her there and had considered her worthy of notice, and she was touched. Zenia must have been a sensitive person; more sensitive than people gave her credit for.

“I’m not,” said Charis. “I wasn’t political at all:”

“I was,” said Zenia. “I was totally anti-bourgeois, back then! A real bohemian fellow-traveller.” She frowned a little, then laughed. “Why not, they had the best parties!”

“Well,” said Charis, “I’m not mixed up. I don’t understand any of those things. I just live with Billy, that’s all:”

“Sort of like a gun moll,” said Zenia, who was feeling a little better. It was a warmish day, for November, so Charis had decided it was safe for Zenia to go out. They were down by the lake, watching the gulls; Zenia had walked the whole way without once holding onto Charis’s arm. Charis had offered to get her some new sunglasses—Zenia had left the old ones behind, the night she ran away—but she hardly needed them any more: her eye had faded to a yellowy-blue, like a washedout ink stain.

“A what?” said Charis.

“Shit,” said Zenia, smiling, “if living with someone isn’t mixed up, I don’t know what is:” But Charis didn’t care what people called things. Anyway, she wasn’t listening to Zenia, she was watching her smile.

Zenia is smiling more, now. Charis feels as if that smile has been accomplished singlehandedly by her, Charis, and by all the work she’s been putting in: the fruit drinks, the cabbage juice made from her own cabbages, ground up fine and strained through a sieve, the special baths she prepares, the gentle yoga stretches, the carefully spaced walks in the fresh air. All those positive energies are ranging themselves against the cancer cells, good soldiers against bad, light against darkness; Charis herself is taking meditation time every day, on Zenia’s behalf, to visualize that exact same result. And it’s working, it is! Zenia has more colour now, more energy. Although still very thin and weak, she is visibly improving.

She knows it and she’s grateful. “You’re doing so much for me,” she says to Charis, almost every day. “I don’t deserve it; I mean, I’m a total stranger, you hardly know me:”

“That’s all right,” says Charis awkwardly. She blushes a little when Zenia says these things. She isn’t used to people thanking her for what she does, and she has a belief that it isn’t necessary. At the same time, the sensation is very agreeable; also at the same time, it strikes her that Billy could be showing a bit more gratitude himself, for everything she’s done for him. Instead of which he scowls at her and doesn’t eat his bacon. He wants her to make two breakfasts—one for Zenia and a separate one for him—so he doesn’t have to sit at the same table with Zenia in the mornings.

“The way she sucks up to you makes me puke,” he said yesterday. Charis knows now why he says such things. He’s jealous. He’s afraid Zenia will come between them, that she’ll somehow take Charis’s full attention away from him. It’s childish of him to feel like that. After all, he doesn’t have a life-threatening illness, and he ought to know by now that Charis loves him. So Charis touches his arm.

“She won’t be here forever,” she says. “Just till she’s a little better. Just till she can find a place of her own.”

“I’ll help her look,” says Billy. Charis has told him about West punching Zenia in the eye, and his response was not charitable. “I’ll do the other one for her, is what he said. “Wham, bam, thank you ma’am, a real pleasure:”

“That’s not very pacifist of you,” said Charis reproachfully. “I never said I was a goddamn pacifist,” said Billy, insulted. “Just because one war’s wrong doesn’t mean they all are!”

“Charis,” Zenia called fretfully, from the front room. “Is the radio on? I heard voices. I was just having a nap.”

“I can’t say spit in my own goddamn house,” hisses Billy. It’s at moments like these that Charis goes out to dig in the garden.

She pushes her shovel down, lifts, turns the soil over, pauses to look for grubs. Then she hears Zenia’s voice behind her. “You’re so strong,” Zenia says wistfully. “I was that strong, once. I could carry three suitcases:”

“You will be again,” says Charis, as heartily as she can. “I just know it!”

“Maybe,” says Zenia, in a small, sad voice. “It’s the little everyday things you miss so much. You know?”

Charis feels suddenly guilty for digging in her own garden; or as if she ought to feel guilty. It’s the same way with a lot of the other things she does: scrubbing the floor, making the bread. Zenia admires her while she does these things, but it’s a melancholy admiration, Sometimes Charis senses that her own healthy, toned-up body is a reproach to Zenia’s enfeebled one; that Zenia holds it against her.

“Let’s feed the hens,” she says. Feeding the hens is something Zenia can do. Charis brings out the hen feed in its coffee can, and Zenia scatters it, handful by handful. She loves the hens, she says. They are so vital! They are—well, the embodiment of the Life Force. Aren’t they?

Charis is made nervous by this kind of talk. It’s too abstract, it’s too much like university. The hens are not an embodiment of anything but hen-ness. The concrete is the abstract. But how could she explain this to Zenia?

“I’m going to make a salad,” she says instead.

“A Life Force salad,” says Zenia, and laughs. For the first time Charis is not delighted to hear this laughter, welcome as it ought to be. There’s something about it she doesn’t understand. It’s like a joke she’s not getting.

The salad is raisins and grated carrots, with a lemon juice and honey dressing. The carrots themselves are Charis’s own, from the box of damp sand in the root cellar lean-to; already they’re beginning to grow small white whiskers, which shows they’re still alive. Charis and Zenia eat the salad, and the lima beans and boiled potatoes, by themselves, because Billy says he has to go out that night. He has a meeting.

“He goes to a lot of meetings,” murmurs Zenia, as Billy is putting on his jacket. She has given up trying to be nice to Billy, since she wasn’t getting any results; now she’s taken to speaking of him in the third person even when he’s standing right there. It creates a circle, a circle of language, with Zenia and Charis on the inside of it and Billy on the outside. Charis wishes she wouldn’t do it; on the other hand, in a way Billy has only himself to blame.

Billy gives Zenia a dirty look. “At least I don’t just sit around on my butt, like some,” he says angrily. He too speaks only to Charis.

“Be careful,” Charis says. She means about going into the city, but Billy takes it as a reproof.

“Have a real good time with your sick friend,” he says nastily. Zenia smiles to herself, a tiny bitter smile. The door slams behind him, rattling the glass in the windows.

“I think I should leave,” says Zenia, when they are eating some of the applesauce Charis bottled earlier in the fall.

“But where would you live?” says Charis, dismayed. “Oh. I could find a place,” says Zenia.

“But you don’t have any money!” says Charis.

“I could get a job of some sort,” says Zenia. “I’m good at that. I can always lick ass somewhere, I know how to get jobs:’ She coughs, muffling her face in her spindly-fingered hands. “Sorry,” she says. She takes a bird-sip of water.

“Oh, no,” says Charis. “You can’t do that! You’re not well enough yet! You will be soon,” she adds, because she doesn’t want to sound negative. It’s health and not sickness that must be reinforced.

Zenia smiles thinly. “Maybe,” she says. “But Karen, really—don’t worry about me. It’s not your problem.”

“Charis,” says Charis. Zenia has trouble remembering her real name.

And yes, it is her problem, because she has taken it upon herself. Then Zenia says something worse. “It’s not just that he hates me,” she says. Her tongue comes out, licking the applesauce off the tip of her spoon. “The fact is, he can hardly keep his hands off me.”

“West?” says Charis. A cold finger runs down her back. Zenia smiles. “No,” she says. “I mean Billy. Surely you’ve noticed it.”

Charis can feel the skin of her entire face sliding down in dismay. She has noticed nothing. But why hasn’t she? It’s obvious to her, now that Zenia’s said it—the energy that leaps out of Billy’s finger-ends and hair whenever Zenia is near. A sexual bristling, like tomcats. “What do you mean?” she says.

“He wants to haul me into bed,” says Zenia. Her voice is lightly regretful. “He wants to jump me.”

“He loves you?” says Charis. Her entire body has gone slack, as if her bones have melted. Dread is what she feels. Billy loves me, she protests silently. “Billy loves me,” she says, in a choked voice. “He says so.” She sounds to herself like a whiny child. And when was the last time he said that?

“Oh, it’s not love,” says Zenia gently. “Not what he feels for me, I mean. It’s hate. Sometimes it’s so hard for men to tell the difference. But you knew that already, didn’t you?”

“What are you talking about?” Charis whispers.

Zenia laughs. “‘Come on, you’re not a baby. He loves your ass. Or some other body part, how would I know? Anyway, for sure it’s not your soul, it’s not you. If you didn’t put out he’d just take anyway. I’ve watched him, he’s a greedy shit, they’re all just rapists at heart. You’re an innocent, Karen. Believe me, there’s only one thing any man ever wants from a woman, and that’s sex. How much you can get them to pay for it is the important thing.”

“Don’t say that,” says Charis. “Don’t say it!” She can feel something breaking in her, collapsing, a huge iridescent balloon ripped and greying like a punctured lung. What’s left, if you take away love? Just brutality. Just shame. Just ferocity. Just pain. What becomes of her gifts then, her garden, her chickens, her eggs? All her acts of careful tending. She’s shaking now, she feels sick to her stomach.

“I’m just a realist, that’s all,” says Zenia. “The one reason he wants to stick his dick into me is that he can’t. Don’t worry, he’ll forget all about it after I’ve left. They have short memories. That’s why I want to go, Karen—it’s for you.” She’s still smiling. She looks at Charis, and her face against the weak light of the ceiling bulb is in darkness, with only her eyes gleaming, red as in car headlights, and the look goes into Charis, down and down. It’s a resigned look. Zenia is accepting her own death.

“But you’ll die,” says Charis. She can’t let that happen. “Don’t give up!” She starts to cry. She clutches Zenia’s hand, or Zenia clutches hers, and the two of them hang onto each other’s hands across the tableful of dirty dishes.

Charis lies awake in the night. Billy has come back, long after she went to bed, but he hasn’t reached for her. Instead he turned away in bed and closed himself off and went to sleep. It’s like that a lot, these days. It’s as if they’ve had a fight. But now she knows there’s another reason too: she is not wanted. It’s Zenia who is the wanted one.

But Billy wants Zenia with his body only. That’s why he’s so rude to her—his body is divided from his spirit. That’s why he’s being so cold to Charis, as well: his body wants Charis out of the way, so he can grab Zenia, shove her up against the kitchen counter, take hold of her against her will, even though she’s so ill. Maybe he doesn’t know that’s what he wants. But it is.

A wind has come up. Charis listens to it scraping through the bare trees, and to the cold waves slapping against the shore. Someone is coming towards her across the lake, her bare feet touching the tops of the waves, her nightgown tattered by the years of weathering, her colourless hair floating. Charis closes her eyes, focusing on the inner picture, trying to see who it is. Inside her head there’s moonlight, obscured by scudding clouds; but now the sky lightens and she can see the face.

It’s Karen, it’s banished Karen. She has travelled a long distance. Now she’s coming nearer, with that cowed, powerless face Charis used to see in the rnirror looming up to her own face, blown towards her through the darkness like an ousted ghost, towards this house where she has been islanded, thinking herself safe; demanding to enter her, to rejoin her, to share in her body once again.

Charis is not Karen. She has not been Karen for a long time, and she never wants to be Karen again. She pushes away with all her strength, pushes down towards the water, but this time Karen will not go under. She drifts closer and closer, and her mouth opens. She wants to speak.

Karen was born to the wrong parents. That’s what Charis’s grandmother said could happen, and it is what Charis believes as well. Such people have to look for a long time, they have to search out and identify their right parents. Or else they have to go through life without.

Karen was seven when she met her grandmother for the first time. On that day she wore a cotton dress with smocking across the front and a sash, and matching hairbows on the ends of her pale blonde pigtails, which were braided so tight her eyes felt slanted. Her mother had starched the dress, and it was stiff and also a little sticky because of the damp late June heat. They took the train, and when Karen got up off the hot plush seat she had to peel the skirt of the dress off the backs of her legs. That hurt, but she knew better than to say so.

Her mother wore an ivory-coloured linen outfit with a sleeveless dress and a short-sleeved jacket over it. She had a white straw hat and a white bag and shoes to match, and a pair of white cotton gloves, which she carried. “I think you’ll enjoy this,” she kept telling Karen anxiously. “You’re a lot like your grandmother in some ways:” This was news to Karen, because for a long time her mother and her grandmother had hardly been on speaking terms. She knew from listening in that her mother had run away from the farm when she was only sixteen. She’d worked at grinding hard jobs and saved up her money so she could go to school and become a teacher. She’d done this so she could be out from under the thumb of her own mother; the crazy old bat. Wild horses would not drag her back to that rubbish heap, or this was what she said.

Yet here they were, heading straight to the farm that Karen’s mother hated so much, with Karen’s summer clothes packed neatly into a suitcase and her mother’s overnight bag beside it on the rack above their heads. They passed dirt fields, isolated houses, grey sagging barns, herds of cows. Karen’s mother hated cows. One of her stories was about having to get up in the winter, in blizzards, before sunrise even, and go out shivering through the whirling snow to feed the cows. But, “You’ll like the cows,” she said now, in the too-sweet voice she used on the Grade Twos at school. She checked her lipstick in the mirror of her compact, then smiled at Karen to see how she was taking it. Karen smiled back uncertainly. She was used to smiling even when she didn’t feel like it. She would be in Grade Two in September; she was hoping she wouldn’t be put in her mother’s class.

This wasn’t her first time staying away from home. Other times she’d been sent to her aunt, her mother’s older sister Viola. Sometimes it was just overnight, because her mother was going out; sometimes it was for weeks, especially in the summers. Her mother needed a long rest in the summers because of her nerves. Well, who wouldn’t have nerves, considering? said Aunt Vi with disapproval, as if what could Karen’s mother expect? She was speaking to Uncle Vern but looking sideways at Karen as if the nerves were Karen’s doing. But surely not all of them were, because Karen tried to do what she was told, although sometimes she made mistakes; and there were other things, like the sleepwalking, that she couldn’t help.

The nerves were the fault of the war. Karen’s father was killed in the war when Karen wasn’t even born yet, leaving Karen’s mother to bring up Karen all by herself—a thing that was understood to be very hard, practically impossible. There was something else too, which had to do with Karen’s mother’s wedding, or else the absence of it. Whether her father and her mother were actually married was one of the many things Karen wasn’t sure about, although her mother called herself Mrs. and wore a ring. There were no wedding photos, but things had been done differently during the war; everyone said so. There was something in Aunt Vi’s tone of voice that alerted Karen: she was an embarrassment, someone who could only be spoken of obliquely. She wasn’t quite an orphan but she had the taint of one.

Karen didn’t miss her dead father, because how could you miss someone you never even knew? But she was told by her mother that she ought to miss him. There was a framed snapshot of him—not with her mother, but alone, in his uniform, his long bony face looking solemn and somehow already dead—which appeared and disappeared from the mantelpiece, depending on the state of Karen’s mother’s health. When she was up to looking at it, the picture was there; , otherwise not. Karen used the picture of her father as a sort of weather report. When it vanished she knew there was going to be trouble, and she tried to keep out of the road, out from underfoot, out of her mother’s hair (road, feet, hair, how could she be on or under or in all of them at the same time?). But she didn’t always succeed, or else she succeeded too well and her mother would accuse her of daydreaming, of not helping, of not caring, of not giving a sweet Jesus about anyone but herself, and her voice would go up high, up higher, up dangerously high, like a thermometer, into the red part.

Karen tried to help, she tried to care. She would have cared except she didn’t know what she was supposed to care about, and also there were so many things she needed to watch, because of the colours, and other things she needed to listen to. Hours before a storm, when the sky was still windless and blue, she would feel the whisper of the distant lightning running up her arms. She heard the phone before it rang, she heard pain gathering in her mother’s hands, building up there like water behind a dam, getting ready to spill over, and she would stand terrified in the middle of the floor with her eyes elsewhere, looking—her mother said—like an idiot. Stupid! Maybe she was stupid, because sometimes she didn’t understand what was being said to her. She wasn’t hearing the words, she was hearing past the words; she heard the faces instead, and what was behind them. At night she would wake up, standing by the door, holding onto the door handle, and wonder how she got there.

Why do you do that? Why? said her mother, shaking her, and

Karen couldn’t answer. My God, you’re an idiot! Don’t you know what could happen to you out there? But Karen didn’t know, and her mother would say, I’ll teach you! Little bitch! Then she would hit the backs of Karen’s legs with one of her shoes, or else the pancake flipper or the broom handle, whatever was nearby, and thick red light would pour out of her body and some of it would get on Karen, and Karen would squirm and scream. “If your Daddy was alive it’d be him doing this, and he’d do it a damn sight harder, believe you me!” Hitting Karen was the only function Karen’s mother ever ascribed to her father, which made her secretly relieved that he wasn’t there.

Ordinarily Karen’s mother did not say Jesus and God and bitch, she didn’t swear; only when she was heading into a patch of bad nerves. Karen cried a lot when her mother hit her, not just because it hurt but because she was supposed to show that she was sorry, although she was confused about why. Also, if she didn’t cry her mother would keep right on hitting her until she did. You hard girl! But she had to stop at the right moment or her mother would hit her for crying. Stop that noise! Stop right now! Sometimes Karen couldn’t stop and neither could her mother, and those were the worst times. Her mother couldn’t help it. It was her nerves.

Then Karen’s mother would fall on her knees and wrap her arms around Karen’s body and squeeze her so she could scarcely breathe, and cry, and say, “I’m sorry, I love you, I don’t know what got into me, I’m sorry!” Karen would try to stop crying then, she would try to smile, because her mother loved her. If someone loved you that made it all right. Karen’s mother sprayed herself every day with Tabu perfume; she had a horror of smelling bad. So that was the smell in the room, during these beatings: warm Tabu.

Karen’s Aunt Vi didn’t like Karen very much, but at least she didn’t touch her, and it wasn’t bad at her place. Karen slept in the guest room, which had large disturbing roses on the curtains, orange and pink ones, like cauliflowers. She stayed out of the way as much as possible. She helped with the dishes without being asked, and kept her handkerchiefs folded in the top bureau drawer and her socks in pairs, and did not get dirty. “She’s a nice enough little thing, but there’s not that much to her,” said Aunt Vi on the telephone. “Milk and water. Well, I keep her clean and fed, it’s not that hard. Anyway it’s only Christian charity, and it’s not as if we have children of our own. I don’t mind, really.”

Uncle Vern went further than that. “Who’s my girl?” he would exclaim. He wanted Karen to sit on his knee, he rubbed her head, he put his face down close to hers and grinned at her, and tickled her under the arms; Karen didn’t like this but she laughed nervously anyway, because she could tell he wanted her to. “We have a good time, don’t we?” he said boisterously; but he didn’t believe it, it was only his idea of how he should behave towards her. “Don’t pester her,” said Aunt Vi coldly.

Uncle Vern’s skin was white on top but red underneath. He mowed the lawn in his shorts, on Sunday evenings when Aunt Vi was at church, and at those times he got even redder, though the light around his body was dim and a muddy green-brown. In the mornings, when she was still lying in bed, Karen could hear him grunting and groaning in the bathroom. She would put her pillow over her ears.

“She does sleepwalk, but not that much,” said Aunt Vi on the phone. “I just keep the doors locked, she can’t get out. I don’t know what Gloria makes such a fuss about. Of course her nerves are shot. Left with a—well, a child on her hands, like that—I feel I have to help out. But then, I’m her sister.” She dropped her voice when saying this, as if it was a secret.

Her aunt and uncle did not live in an apartment, the way her mother did. They lived in a house, a new house in the suburbs, with carpets all over the floor. Uncle Vern was in the home furnishings business; there was a real demand for home furnishings because it was right after the war, so Uncle Vern was doing well, and right now Uncle Vern and Aunt Vi had gone on a vacation. They had gone to Hawaii. This was why Karen couldn’t stay with them, but had to go to her grandmother’s instead.

She had to go, because her mother needed a rest. She needed it badly; Karen knew how badly. When she peeled the starched skirt away from the backs of her legs, some of the skin came off too, because last night her mother had used the pancake flipper, not the flat way but sideways; she had used the cutting edge and there had been blood.

The grandmother met them at the train station in a battered blue pickup truck.

“How are you, Gloria,” she said to Karen’s mother, shaking hands with her as if they were strangers. Her hands were large and sunburned and so was her face; her head was topped with a straggly whitish grey nest, which Karen realized after a moment was her hair. She was wearing overalls, and not clean ones either. “So this is wee Karen:” Her big, crinkly face swooped down, with a beak of a nose and two small bright blue eyes under wiry eyebrows, and her teeth appeared, large too and unnaturally even, and so white they were almost luminous. She was smiling. “I’m not going to eat you,” she said to Karen. “Not today. You’re too skinny, anyway—I’d have to fatten you up.”

“Oh, Mother,” said Karen’s own mother reproachfully, in her sweet Grade Twos voice. “She won’t know you’re only joking!”

“Then she better find out fast,” said the grandmother. “Part of it’s true, anyway. She’s too skinny. If I had a calf like that I’d say it was starving:”

There was a black-and-white collie on the seat of the pickup truck, lying on a filthy plaid rug. “Into the back, Glennie,” said the grandmother, and the dog pricked up its ears, wagged its tail, jumped down, and scrambled into the back of the truck via’ the back fender. “In you go,” said the grandmother, picking Karen up as if she were a sack and hoisting her onto the seat. “Shove over for your mother.” Karen slid along the seat; it hurt, because of her legs. Karen’s mother looked at the dog hairs, hesitating.

“Get in, Gloria,” said the grandmother drily. “It’s just as dirty as it always was.”

She drove the truck fast, whistling tunelessly, one elbow jauntily out the window. Both windows were open and the gravel dust billowed in, but even so the inside of the car stank of old dog. Karen’s mother took off her white hat and stuck her head partway out the window. Karen, who was squashed in the middle and feeling a little sick, tried to imagine she was a dog herself, because if she was, then she would think the smell was nice.

“Home again, home again, jiggy jog jog,” said the grandmother jovially. She swung up a bumpy driveway, and Karen caught a glimpse of a huge skeleton, like a dinosaur skeleton, in the long weedy grass in front of the house. This thing was a rusty red, with sharp spines and many encrusted bones sticking out of it. She wanted to ask what it was but she was still too afraid of her grandmother, and anyway the truck was no longer moving and now there was a commotion, a barking and hissing and cackling outside, and a grunting, and her grandmother was yelling, “Be off, be off with you, shoo, shoo, boys and girls!”

Karen couldn’t see out, so she looked at her mother. Her mother was sitting bolt upright, her hat on her knees, with her eyes tight shut, scrunching her white cotton gloves into a ball. The grandmother’s face appeared at the window. “Oh, for

Christ’s sake, Gloria,” she said, jerking open the door. “It’s only the geese:”

“Those geese are killers,” said Karen’s mother, but she clambered down out of the truck. Karen thought that her mother shouldn’t have worn her white shoes, because the yard in front of the house wasn’t a lawn, it was an expanse of mud, some of it dry, some of it not, and some of it not mud at all but animal poo of various kinds. Karen was familiar only with the dog kind, because they had that in the city. There were now two dogs, the black-and-white collie and a larger, brown-and-white one, and at the moment they were herding a flock of geese back towards the barnyard, barking and waving their brushy tails. There were a lot of flies buzzing around.

“Yeah, they can give you a good peck,” said Karen’s grandmother. “You just have to stand up to them! Show some willpower!” She reached in for Karen, but Karen said, “I can get down by myself” and her grandmother said, “That’s the ticket.” Karen’s mother had gone ahead, carrying her overnight case in one hand and waving her purse at the flies, picking her way across the yard through the clumps of poo in her high heels, and the grandmother took this opportunity to say, “Your mother’s weak-minded. Hysterical. Always has been. I hope you’re not.”

“What’s that thing?” said Karen, finding some courage because she sav~ that it was required of her.

“What thing?” said her grandmother. Leaning against her grandmother’s legs was a medium-sized pig. It snuffled at Karen’s socks with its alarming snout, wet and tender as an eyeball, drooly as a mouth. “This here’s Pinky. She’s a pig.”

“No,” said Karen. She could tell it was a pig, she’d seen pictures. “The big thing, at the front.”

“Old cultivator,” said her grandmother, leaving Karen to wonder what a cultivator was. “Come on!” She strode off towards the door with Karen’s suitcase under one arm, and

Karen trotted along behind. In the distance there was more barking and cackling. The pig followed as far as the house, and then, to Karen’s surprise, came right in. It knew how to nose open the screen door.

They were in the kitchen, which was a lot less like a rubbish heap than Karen had thought it would be. There was an oval table covered with oilcloth—light green with a design of strawberries—with a huge teapot and some used plates on it. There were some chairs painted apple green, and a wood range and a saggy maroon velvet sofa piled with newspapers. On the floor there were more newspapers, with a ravelled afghan thrown on top of them.

Karen’s mother was sitting in a rocking chair beside the window, looking exhausted. Her linen outfit was all creased. She had her shoes off and was fanning herself with her hat, but when the pig came into the room she gave a slight scream.

“It’s okay, she’s house-broken,” said the grandmother. “That is the limit,” said Karen’s mother, in a tight, furious voice.

“Cleaner than most people,” said the grandmother. “Smarter, too. Anyways, this is my house. You can do what you like in yours. I didn’t ask you to come here and I won’t ask you to leave, but while you’re here you can take things as you find them.”

She scratched the pig behind the ears and gave it a slap on the rump, and it grunted gently and squinted up at her and then went over and flopped down sideways on the afghan. Karen’s mother burst into tears and scrambled out of her chair, and headed out of the room in her stocking feet, with her white gloves crushed to her eyes. Karen’s grandmother laughed. “It’s okay, Gloria,” she called. “Pinky can’t climb stairs!”

“Why not?” said Karen. Her voice was almost a whisper. She’d never heard anyone talk to her mother like that. “Legs’re too short,” said her grandmother. “Now, you can take off that dress, if you’ve got any other kind of clothes, and help me wash the potatoes.” She sighed. “I should’ve had sons:” Karen opened her suitcase and found her long cotton pants, and changed into them in a room her grandmother called the back parlour. She didn’t want to put on shorts because of the backs of her legs. They were a secret between her and her mother. She wasn’t supposed to tell, about the broom handle or the pancake flipper, or there would be trouble, the way there was when her mother punched one of the Grade Two boys in the face and almost lost her job, and then what would they eat?

“I’ll show you your own room later, when Gloria’s over the sniffles,” said her grandmother. Then Karen helped her grandmother wash the potatoes. They did this in a smaller kitchen off the main one where there was an electric stove, and a tin sink with a cold-water tap. Her grandmother called this room the pantry. The pig came in with them and grunted hopefully until it was sent away. “Not now, Pinky,” said the grandmother. “Too many raw potatoes make her sick. She loves ’em, though. She’ll take a drink too, and that’s just as bad for her. Most animals like to go on a good drunk if they get the chance:’

For dinner they had the potatoes, boiled, and chicken stew with biscuits. Karen wasn’t all that hungry. She fed pieces of her dinner furtively to the pig and also to the two dogs, who were underneath the table. Her grandmother saw her doing it but didn’t object, so she knew it was all right.

Her mother came down for dinner, still in the linen dress, with her face washed and a fresh mouth painted on and a grim set to her lips. Karen knew that expression: it meant her mother was going to see this through or else. Or else what? Or else things would not be so good, for Karen.

“Mother, are there any serviettes?” said Karen’s mother. Her mouth jerked into a smile, as if there were strings pulling up the ends of it.

“Any what?” said the grandmother. “Table napkins,” said her mother.

“La-di-da, Gloria, use your sleeve,” said the grandmother. Karen’s mother wrinkled her nose at Karen. “Do you see any sleeves?” she said. Her jacket was off, so her arms were bare. She was taking a new line: she’d decided that they would both find the grandmother comical.

The grandmother caught this look and frowned. “They’re in the dresser drawer, same as always,” she said. “I’m not a savage, but this is no dinner party neither. Those who wants can get them.”

For dessert there was applesauce, and after that strong tea with milk in it. The grandmother passed a cup to Karen, and Karen’s mother said, “Oh, Mother, she doesn’t drink tea,” and the grandmother said, “She does now” Karen thought there might be an argument, but her grandmother added, “If you’re leaving her with me, you’re leaving her with me. ‘Course, you can always take her with you.” Karen’s mother clamped her mouth shut.

When Karen’s grandmother had finished eating she scooped the chicken bones off the dinner plates, back into the stewpot, and set the plates down on the floor. The animals crowded around them, licking and slurping.

“Not from the dishes,” said Karen’s mother faintly.

“Less germs on their tongues than on a human’s,” said the grandmother.

“You’re crazy, you know that?” said Karen’s mother in a choking voice. “You should be locked up!” She jammed her hand over her mouth and ran out into the yard. The grandmother watched her go. Then she shrugged and went back to drinking her tea.

“There’s clean inside and clean outside,” she said. “Clean inside is better, but Gloria never could tell the difference:” Karen didn’t know what to do. She thought about her stomach, with animal slobber and dog and pig germs in it; but strangely, she didn’t feel sick.

When Karen went upstairs later, she heard her mother crying, a sound she had heard many times before. She went carefully into the bedroom where the sound was coming from. Her mother was sitting on the edge of the bed, looking more desolate than Karen had ever seen her. “She was never like a real mother,” she sobbed. “She never was!”

She squeezed Karen tight and cried onto her hair, and Karen wondered what she meant.

Karen’s mother left the next day, before breakfast. She said she had to get back to the city, she had a doctor’s appointment. Karen’s grandmother drove her to the station and Karen went too, to say goodbye. She wore her long pants, because of her legs, which were hurting again. Her mother kept one arm around her all the way to the station.

Before starting the truck the grandmother let the geese out of their pen. “They’re watch-geese,” she said. “Them and Cully’ll take care of everything. Anyone tries to get in here, Cully’ll knock them down and the geese’ll poke out their eyes. Stay, Cully! Come, Glenn.” She drove just as fast as before, almost in the centre of the road, but this time she didn’t whistle.

When the time came to say goodbye at the station, Karen’s mother kissed Karen on the cheek and squeezed her tight and said she loved her, and told her to be a good girl. She did not kiss the grandmother. She didn’t even say goodbye to her. Karen watched the grandmother’s face: it was shut tight like a box.

Karen wanted to wait until the train was actually moving, so they did. Her mother waved at her out of the train window, her white gloves fluttering like flags. That was the last she saw of her real mother, the one that could still smile and wave, although she didn’t know it at the time.

Then Karen and her grandmother went back to the farmhouse and had their breakfast, which was oatmeal porridge with brown sugar and thick new cream on it. With Karen’s mother gone, her grandmother was not so talkative.

Karen looked at her grandmother across the table. She looked thoroughly. The grandmother was older than Karen had thought the day before; her neck was bonier, her eyelids were more wrinkled. Around her head there was a faint pale blue light. Karen had already figured out that her teeth were false.

After breakfast Karen’s grandmother says to her, “Are you sick?”

“No,” says Karen. Her legs are still hurting but that isn’t a sickness, it’s nothing because her mother says it’s nothing. She doesn’t want to be put to bed, she wants, to go outside. She wants to see the chickens.

Her grandmother looks at her sharply but only says, “Don’t you want to put on your shorts? Today’ll be a scorcher,” but Karen says no again and they go to collect the eggs. The dogs and the pig aren’t allowed to come with them, because the dogs would try to herd the hens, and the pig likes eggs. The three of them lie on the kitchen floor, the dogs’ tails thumping slowly, the pig looking thoughtful. Karen’s grandmother takes a sixquart basket with a dishtowel in it, to put the eggs in.

The sky is bright, bright blue like a fist pushed into an eye, that puddle of hot colour; the thin piercing voices of the cicadas go straight into Karen’s head like wires. The edges of her grandmother’s hair catch the sunlight and burn like fiery wool. They walk along the path, tall weeds beside them, this tles and Queen Anne’s lace, smelling deeper and greener than anything Karen has ever smelled before, mixing in with the sweet pungent barnyard smells so that she doesn’t know whether it smells good or bad or just so powerful and rich it’s like being smothered.

The henhouse is near the chicken-wire and rail fence that’s around the garden; inside the fence are potato hills, and lettuce in a frilly row, and tripods of poles with climbing beans on them, their red flowers humming with bees. “Potatoes, lettuce, beans,” Karen’s grandmother says, to Karen, or possibly to herself: “Hens,” she says, when they get as far as the henhouse.

The hens are two kinds: white with red wattles, and reddish brown. They scratch and cluck, and peer at Karen with their yellow lizards’ eyes, one eye and then the other; sparkles of many-coloured light run off their feathers, like dew. Karen looks and looks at them, until her grandmother takes her arm. “No eggs out here,” she says.

The henhouse is musty inside, and dim. Karen’s grandmother gropes in the straw-filled boxes, and under the two hens still inside, and puts the eggs into her basket. She gives Karen one egg to carry, for herself. A tender glow comes from inside it. It is a little damp; there are bits of henshit and straw clinging to it. Also it’s warm. Karen feels the backs of her legs throbbing and the heat running from the egg up into her head. The egg is soft in her hands, like a beating heart with a rubber shell around it. It’s growing, swelling up, and as they walk back past the garden through the sun’s glare and the vibration of the bees it gets so large and hot that Karen has to drop it.

After that she was in bed, lying on her stomach. Her grandmother was washing off her legs. “I wasn’t the right mother for her,” said the grandmother. “Nor she the right daughter, for me. And now look. But it can’t be helped:” She put her large nubbly hands on Karen’s legs and at first it hurt more, and then Karen got warmer and warmer, and then cool, and after that she went to sleep.

When she woke up she was outside. It was quite dark but there was a half moon; in the moonlight she could see the trunks of trees, and the shadows the branches made. At first she was afraid because she didn’t know where she was or how she’d got there. There was a deep sweet smell, a glimmering of flowers, milkweeds as she learned later, and a fluttering of many moths, the white flakes of their wings kissing against her. Somewhere near was running water.

She heard breathing. Then she felt a wet nose pushed into her hand, and something brushed against her. The two dogs were with her, one on either side. Had they barked when she came out of the house? She didn’t know, she hadn’t heard them. But she didn’t worry any more because they would know the way back. She stood for a long time, breathing in and breathing in, the scent of trees and dogs and night flowers and water, because this was the best thing, it was what she wanted, to be outside in the night by herself. She wasn’t sick any longer.

Finally the dogs nudged her gently, turning her around, herding her back towards the dark bulk of the house. No lights were on anywhere; she thought she might go in and up the stairs and into her bed without her grandmother knowing. She didn’t want to be shaken or told she was hard, or hit with anything. But when she reached the house her grandmother was standing beside it, in a long pale nightgown with her hair feathery in the moonlight, holding the door open, and she didn’t say anything at all. She simply nodded at Karen, and Karen went inside.

She felt welcomed, as if the house were a different house, at night; as if this was the first time she had entered it. She knew now that her grandmother walked in her sleep, too, and that her grandmother also could see in the dark.

In the morning Karen ran her hands over the backs of her legs. Nothing hurt. All she could feel, instead of the sticky welts that had been there before, were some tiny thin lines, like hairs; like the cracks in a mirror.

The room Karen slept in was the smallest bedroom upstairs. It used to be her mother’s. The bed was narrow, with a scratched headboard of dark varnished wood. There was a white bedspread on it that looked like a lot of caterpillars sewn together, and a chest of drawers painted blue, with a straight-backed wooden chair to match. The drawers were lined with old newspapers; Karen put her folded clothes into them. The curtains were a faded forget-me-not print. In the mornings the sunlight came in through them, showing the dust on the surfaces, and on the rungs of the chair. There was a braided rug, shabby from use, and a dark wardrobe jammed into one corner.

Karen knew her mother hated this room; she hated the whole house. Karen didn’t hate it, although there were some things about it she found strange. In the big front bedroom where her grandmother slept, there was a row of men’s boots in the closet. There was no bathroom, only an outhouse, with a wooden box of lime and a little wooden paddle, to put the lime down the hole. There was a front parlour with dark curtains and a collection of Indian arrowheads picked up in the fields, and huge stacks of old newspapers all over the floor. On the wall was a framed photo of Karen’s grandfather, from a long time ago, before he got crushed by a tractor. “He didn’t grow up with tractors,” said the grandmother. “Only horses. Damn thing rolled on him. Your mother saw it happen, she was only ten at the time. Maybe that’s where she went off the rails. He said it was his own fault, for meddling with the Devil’s inventions. He lived for a week, but there was nothing I could do. I can’t do a thing about bones.” She said these things more to herself than to Karen, as she said many things.

The tractor itself was still in the drive shed; her grandmother used to drive it before she got too old. Now the fields were worked by Ron Sloane from down the road, and he used his own tractor, his own baler, all his own stuff: The second week Karen was there one of the hens went broody and made a nest on the tractor seat instead of in her box. Karen found her, sitting on twenty-three eggs. “They’ll do that,” said the grandmother. “They know we take their eggs, so they sneak off by themselves. The other hens’ve been dropping their own eggs on her. Saving themselves the bother. Lazy sluts:”

That hen had to be moved back into the henhouse though, because of the weasels. “They come at night,” said Karen’s grandmother. “They bite the chickens in the neck and suck out their blood:” The weasels were so thin they could get through the smallest crack. Karen imagined them, long thin animals like snakes, cold and silent, slithering in through the walls, their mouths open, their sharp fangs ready, their eyes shining and vicious. Her grandmother sent her into the henhouse one night after dark, with the lantern, while she herself stayed outside, looking for cracks in the boards where the light shone through. One weasel in a henhouse, she said, and that would be that. “They don’t kill to eat,” she said. “They kill for the pleasure of it:”

Karen looked at the photo of her grandfather. She could never tell much from pictures; the bodies in them were just flat, made from black-and-white paper, and no light came out of them. The grandfather had a beard and heavy eyebrows and was wearing a black suit and a hat; he was not smiling. Karen’s grandmother said he was a Mennonite, before he married her and broke with the rest of them. Karen was not able to make any sense of this at all, because she didn’t know what a Mennonite was. Her grandmother said they were a religion. They wouldn’t use anything newfangled, they kept themselves to themselves, they were good farmers. You could always tell a

Mennonite farm because they farmed right to the edges of the fields. Also, they didn’t hold with war. They wouldn’t fight. “In wartime they aren’t too popular,” she said. “There’s people on this line who still aren’t speaking to me, because of him.”

“I don’t hold with war, either,” said Karen solemnly. She had just decided that. It was the war that gave her mother so many nerves.

“Well, I know Jesus said turn the other cheek, but God said an eye for an eye,” said her grandmother. “If people start killing your folks, you should fight back. That’s my opinion.”

“You could just go somewhere else,” said Karen.

“That’s what the Mennonites did,” said her grandmother. “Trouble is, what happens when there’s no place else to go? Answer that one, I say to him!” Her grandmother often spoke of the grandfather as if he were still alive—“He likes a good pot roast for dinner,” or “He never cuts corners.” Karen began to wonder whether he was indeed still alive, in some way. If anywhere, he would be in the front parlour.

Maybe that was why they never used the front parlour, only the back one. They would sit in it and Karen’s grandmother would knit, one bright afghan square after another, and they would listen to the radio, the news and weather mostly. Karen’s grandmother liked to know if it was going to rain, though she said she could tell better than the radio, she could feel rain in her bones. She fell asleep in there every afternoon, on the sofa, wrapped in one of the finished afghans, with her teeth in a glass of water and the pig and the two dogs guarding. In the mornings she was brisk and cheerful; she whistled, she talked to Karen and told her what to do; because there was a right and a wrong way to do everything. But in the afternoons, after lunch, she would droop and begin to yawn, and then she would say she was just going to sit down for a minute.

Karen didn’t like being awake while her grandmother was asleep: This was the only part of the day she found frightening.

The rest of the time she was busy, she could help. She pulled weeds out of the garden, she collected the eggs, at first with her grandmother and then by herself. She dried the dishes, she fed the dogs. But while her grandmother slept she didn’t even go outside, because she didn’t want to get too far away. She stayed in the kitchen. Sometimes she looked at the old newspapers. She would search for the weekend comic pages and study them: if you put your eye up close to the page, the faces dissolved into tiny coloured dots. Or she would sit at the kitchen table, drawing with the stub of a pencil on pieces of scrap paper. At first she tried to write letters to her mother. She knew how to print, she had learned at school. Dear Mother, How are you, Love, Karen. She would walk down to the mailbox beside the road and put the letter in, and lift the red metal flag. But no letters came in return.

So instead she would sit there drawing with the pencil stub; or else not drawing. Listening. Her grandmother snored, and mumbled in her sleep sometimes. There were flies buzzing, distant cows, chuckling of geese, a car going by, way down on the gravel road at the front of the property. Other sounds. The tap dripping into the sink, in the pantry. Footsteps in the front parlour, a creaking, what was it? The rocker in there, the hard sofa? She sat very still, chilled in the afternoon heat, with the small hairs on her arms lifting, waiting to see if the footsteps would come closer.

On Sundays her grandmother would put on a dress, but she didn’t go to church—not like Aunt Vi, who went twice a day on Sundays. Instead she would take the huge family Bible out of the front parlour and stand it up on the kitchen table. She would close her eyes and poke between the pages with a pin, and then open to the page that the pin had chosen. “Now you,” she would say to Karen, and Karen would take the pin and close her own eyes, and let her hand hover over the page until she felt it pulled down. Then her grandmother would read the part where the pin had stuck in.

“‘If any man among you seemeth to be wise in this world, let him become a fool, that he may be wise,”‘ she read. “‘For the wisdom of this world is foolishness with God: Well now, I know who that must mean.” And she would nod her head.

Sometimes though she would be puzzled. “‘The dogs shall eat Jezebel by the wall of Jezreel,”‘ she read. “Now I don’t know at all who that could be. Must be too far ahead:’ She only read one verse a Sunday. After that she would close up the Bible and put it back in the front parlour, and change into her overalls and go outside to do the chores.

Karen kneels in the garden. She’s picking beans into a six-quart basket, yellow beans. She picks slowly, one bean at a time. Her grandmother can pick with both hands at once, not even looking, the same way she knits, but Karen has to look, to find the bean first and then pick it. The sun is white-hot; she’s wearing her shorts—and a sleeveless blouse, and the straw sunhat her grandmother makes her wear so she won’t get sunstroke. Crouched down like that she’s almost hidden, because the bean plants are so big. The sunflowers watch her with their huge brown eyes, their yellow petals like spikes of dry fire.

The air shimmers like cellophane, a clear sheet of it shaken over the flat fields; it crackles with grasshopper static. Good haying weather. From two fields over comes the drone of Ron Sloane’s tractor, the clack and thump of the baler. Then it stops. Karen reaches the end of the bean row. She pulls a carrot up for herself, wipes off the dirt with her fingers, then rubs the carrot on her leg, then bites into it. She knows she’s supposed to wash it first but she likes the earth taste.

There’s a motor noise. A dark green pickup truck is coming up the drive. It comes fast, skewing from side to side on the gravel. Karen knows the truck: it’s Ron Sloane’s truck.

Why isn’t he in the field, why is he coming here? Mostly nobody visits. Her grandmother has no opinion of the neighbours. She says they think stupid things and they gossip, and they stare at her when they pass her on the street, when she goes shopping in town. Karen has seen people doing that, all right.

The truck skids to a stop; there’s a rush of geese, the dogs barking. The door of the truck opens and Ron S.loane falls out. Staggers out, holding his arm. The tanned skin of his face looks like a brown paper bag, all the pinky-red gone out of it. “Where is she?” he says to Karen. He smells of sweat and fear. His sleeve is torn, his arm is dripping blood, pouring blood, she sees now. The hurt, the danger comes off the arm in shock waves of brilliant red. Karen wants to scream, but she can’t, she can’t move. She calls to her grandmother inside her head, and her grandmother comes around the corner of the house carrying a pail, and sees the blood too and drops the pail. “God Almighty,” she says. “Ron.”

Ron Sloane turns his face to her and it is a look of abject, helpless appeal. “Fuckin’ baler,” is what he says.

Karen’s grandmother is hurrying towards him. “Boys and girls, boys and girls,” she says to the dogs and geese. “Cully, out,” and there is a barking, cackling retreat.

“It’ll be fine,” she says to Ron. She puts out her hand and touches him, touches his arm, and says something. What Karen sees is light, a blue glow coming out from her grandmother’s hand, and then it’s gone and the blood has stopped. “It’s done,” she says to Ron. “But you need to get to a hospital. All I can do is the blood. I’ll drive you, you’re not fit. That was a vein; it’ll start again in half an hour. Get a wet cloth,” she says to Karen. “A tea towel. Cold water.”

Karen sits in the back of her grandmother’s truck, with Glennie the dog. She always sits in the back now, if she can. The air whirls around her, her own hair ripples against her face, the trees blur by, it’s like flying. They go to the hospital, twenty miles away, in the same town as the train station, and Ron gets out, and then he has to sit and put his head down, and then Karen’s grandmother gets an arm around him and they hobble together into the hospital like people in a three-legged race. Karen and Glennie wait in the truck.

After a while her grandmother comes out. She says they’re leaving Ron Sloane at the hospital to get sewed up, and he will be all right now. They drive back to tell Mrs. Sloane what’s happened to Ron, so she won’t worry. They sit at Mrs. Sloane’s kitchen table and Karen’s grandmother has tea and Karen has a glass of lemonade, and Mrs. Sloane cries and says thank you, and the grandmother doesn’t say you’re welcome. She only nods, a little stiffly, and says, “Don’t thank me. It isn’t me does it.”

Mrs. Sloane has a fourteen-year-old daughter with pale hair, paler than Karen’s, and pink eyes, and skin devoid of colour. She passes a plate of store cookies, and stares and stares at Karen’s grandmother as if her pink eyes are about to fall out. Mrs. Sloane doesn’t like Karen’s grandmother, although she urges her to have more tea. Neither does the white-haired daughter. Instead they are afraid of her. Their~fear is all around their bodies, little grey icy shivers, like wind blowing on a pond. They’re afraid and Karen isn’t; or not as much. She would like to touch blood too, she would like to be able to make it stop.

In the evenings, when it’s cooler, Karen and her grandmother visit the cemetery. It’s less than a mile away. At these times Karen’s grandmother puts on her dress, but Karen doesn’t have to.

They always walk, they never take the truck. They go along the gravel road beside the fences and the ditches and the dustcoated weeds, and Karen holds her grandmother’s hand. It’s the only time she does. She holds it in a new way now, feeling its stringy veins and its knobs of bone and the loose skin on it not as old but as a colour. The colour of light blue. It’s a hand with power.

The cemetery is small; the church beside it small too, and vacant. The people who used to be there have built a new church, a bigger one, out beside the main highway.

“That’s where we put the women and children, when the Fenians came,” says Karen’s grandmother. “Inside that very church.”

“What are Fenians?” says Karen. The word makes her think of a laxative, she’s heard it on the radio. Feen-a-mints.

“Trash up from the States,” says the grandmother. “Irish. They wanted war. Their eyes were bigger than their stomachs though:” She talks about this event as though it just happened the other day, but really it was a long time ago. Over seventy years.

“We’re not Irish,” says Karen.

“Not by a long shot,” says Karen’s grandmother, “though your great-grandmother was.” She herself is Scotch, partly, so Karen is part Scotch too. Part Scotch, part English, part Mennonite, and part of whatever her father was. According to her grandmother, Scotch is the best thing to be.

The cemetery is weedy, though people still come here: some of the graves are mowed. Grandmother knows where everyone’s buried, and why: a car crash at a crossroads, four dead, they’d been drinking; a man who blew himself in two with his own shotgun, everyone knew only they didn’t want to say because then it would be suicide and that was a disgrace. A lady and her baby, the baby’s grave smaller, like a tiny bedstead; another disgrace, because that baby had no real father. But “All fathers are real,” says the grandmother, “though they’re not all right:” There are angel heads on the grave—stones, urns with willow trees, stone lambs, stone flowers; real flowers too, wilting in jam jars. The grandmother’s mother and father are in here, and her two brothers. She takes Karen to look at them; she doesn’t say “their graves,” she says “them:” But mostly she wants to see Karen’s grandfather. His name is carved on his stone, and his two numbers—when he was born, and when he died.

“Maybe I should’ve sent him back to the Mennonites,” she says. “He might like to be with his own people. But most likely they wouldn’t’ve took him. Anyways, he’s best here with me.

Grandmother’s own name is carved underneath his, but her righthand date is a blank. “I had to get it fixed beforehand,” she says to Karen. “Nobody around here to do it, after. That Gloria and that Vi would probably just dump me into the ditch, save the money. They’re waiting for me to die so they can sell the farm. Or else they’d move me into that city, some hole in the ground. So I fooled them, I bought my own gravestone. I’m all set, come hell or high water.”

“I don’t want you to die,” says Karen. She doesn’t. Her grandmother is a safe place for her, although hard. Or because hard. Not shifting, nQt watery. She doesn’t change.

Her grandmother sticks out her chin. “I don’t intend to die,” she says. “Only the body dies:’ She glares at Karen; she looks almost ferocious. Her hair on top is like thistles, after they’ve gone to seed.

Did Karen love her grandmother? thinks Charis, halfway to the Island, sitting at the back of the ferry, remembering herself remembering. Sometimes yes, sometimes no. Love is too simple a word for such a mixture of harsh and soft colours, of pungent tastes and rasping edges. “There’s more than one way to skin a cat,” her grandmother would say, and Karen would flinch, because she could picture her grandmother actually skinning one. Her grandmother went out at dawn with her .22

rifle and shot woodchucks; also rabbits, which she made into stews. She killed the chickens when they were too old to lay or just when she wanted a chicken; she chopped their heads off with an axe, on the wooden chopping block, and they ran silently around the barnyard with their necks fountaining blood and the grey smoke of their life rising up from them and the rainbow of light around them fading and then going out. Then she plucked and gutted them and singed off their pinfeathers with a candle, and after they were cooked she saved their wishbones and dried them on the windowsill. She had five there already. Karen wanted them to break one, but her grandmother said, “Have you got a wish?” and Karen couldn’t think of one. “You save these for when you need them,” said her grandmother.

Karen asks more questions now; she does more things. Her grandmother says she is toughening up. When she goes to the henhouse by herself to get the eggs, she swats at the hens if they hiss and try to peck her, and if the rooster jumps at her bare legs she kicks him; sometimes she carries a stick, to beat him off. “He’s a mean old devil,” her grandmother says. “Don’t you take anything from him. Just give him a good whack. He’ll respect you for it.”

One morning they’re eating bacon, and her grandmother says, “This here is Pinky.”

“Pinky?” says Karen. Pinky the pig is lying on her afghan where she usually is during meals, blinking with her bristlylashed eyes and hoping for scraps. “Pinky’s right here!”

“This is last year’s Pinky,” says her grandmother. “There’s a new one every year.” She looks across the table at Karen. She has a sly expression; she’s waiting to see how Karen will take it.

Karen doesn’t know what to do. She could start to cry and jump up from the table and run out of the room, which is what her mother would do and is also what she herself feels like doing. Instead she sets her fork down and takes the rubbery chewed piece of bacon out of her mouth and places it gently on her plate, and that’s the end of bacon for her, right then and there, forever.

“Well, for heaven’s sake,” says her grandmother, aggrieved but with some contempt. It’s as if Karen has failed at something. “It’s only pigs. They’re cute when they’re young, smart too, but if I let them stay alive they’d get too big. They’re wild when they grow up, they’re cunning, they’d eat you, yourself. They’d gobble you up as soon as look at you!”

Karen thinks about Pinky, running around the barnyard with no head, the grey smoke of her life going up from her and her rainbow light shrinking to nothing. Whatever else, her grandmother is a killer. No wonder other people are afraid of her.

xxxv

It was Labour Day. That was when Karen’s mother was supposed to come on the train and take Karen back to the city. Karen had her suitcase all packed. She cried, in her narrow bed, under her chenille spread, under her pillow. She didn’t want to leave her grandmother, but she wanted to see her mother, who—already—she couldn’t remember clearly. All she could remember was her dresses, and the smell of Tabu, and one of her voices, her sweet voice, the too-sweet voice she used on the Grade Twos.

Her mother didn’t come. Instead there was a phone call from Aunt Vi, and Karen’s grandmother said there had been a hitch and Karen would be staying a little longer. “You can help me put up the tomatoes,” she said. Karen picked tomatoes and washed them in the pantry, and her grandmother scalded them and peeled them and boiled them in jars.

Then it was time for school to begin, and still nothing happened. “There’s no point starting you at that school,” said Karen’s grandmother. “You’d just be in and out:” Karen didn’t mind. She didn’t much like school anyway, it was hard to pay attention to so many people in the same room at once. It was like the radio when there was a thunderstorm near: she could hardly hear a thing.

Her grandmother brought the Bible out of the front parlour and stood it on the kitchen table. “Let me see, said the blind man,” she said. She closed her eyes and poked with a pin. “Psalm Eighty-eight. I’ve had that before. ‘Lover and friend hast thou put far from me, and mine acquaintance into darkness.’ Well, that’s right enough; it means I should get ready to go, myself, pretty soon. Now you.”

Karen took the pin and closed her eyes, and her hand followed the strong current that pulled it downwards. “Ah,” said her grandmother, squinting. “Jezebel again. Revelations, Two, Twenty. ‘Notwithstanding I have a few things against thee, because thou sufferest that woman Jezebel, which callest herself a prophetess, to teach and to seduce my servants to commit fornication, and to eat things sacrificed unto idols.’ Now that’s a strange thing, for a little girl:’ And she smiled at Karen, the smile of a withered apple.

“You must be living ahead of yourself.” Karen had no idea what she meant.

Finally it was Aunt Vi who arrived, not Karen’s mother. She didn’t even stay at the grandmother’s house. She stayed at the one hotel in town, and the grandmother drove Karen in. Karen didn’t sit in the back of the truck this time. She sat in the front seat with the dog hairs, wearing her dress, the same as the day she came, looking out the window and not saying a thing. Her grandmother whistled softly.

Aunt Vi wasn’t all that pleased to see Karen but she pretended to be. She gave Karen a peck on the cheek. “Look how tall you’ve grown!” she said. It sounded like an accusation. “You’ve got her suitcase?” she said to the grandmother:

“Viola, I’m hardly senile yet,” said the grandmother. “I’m not likely to forget her suitcase. Here you go,” she said to Karen softly. “I put a wishbone in it.” She crouched down and put her bony arms around Karen, and Karen could feel her square body, solid as a house, and then her grandmother wasn’t there any longer.

Karen sat on the train beside Aunt Vi, who fussed and fussed. “We’ll have to get you enrolled in school, right away,” she said. “You’ve missed almost a month already! My goodness, you’re brown as a berry!”

“Where’s my mother?” said Karen. She couldn’t think of any berries that were brown.

Aunt Vi frowned and looked away. “Your mother isn’t well,” she said.

When Karen got to Aunt Vi’s house she went into her usual room with the orange-and-pink flowered curtains and opened up her suitcase right away. There was the hen wishbone, wrapped in a piece of wax paper, with a rubber band around it, from her grandmother’s jar of saved-up rubber bands that was kept beside the sink. She took the wishbone out. It smelled sour, but rich and full, like a hand with dirt on it. She hid it in the hem of one of the curtains. She knew that if Aunt Vi found it she would throw it away.

Karen’s mother is in a building, a new flat yellow building that looks like a school. Aunt Vi and Uncle Vern take Karen to visit her. They sit in the waiting room, on hard chairs covered with a nubbly fabric, and Karen is frightened because Aunt Vi and Uncle Vern are so solemn; solemn, and at the same time avid. They are like the people who stop their cars and get out to see when there’s been a car accident. Something is bad, something is wrong, but they want to participate in it, whatever it is. Karen would rather not, she would like to go back right now, back in time, back as far as the farm, but a door opens and her mother comes into the room. She walks slowly, putting a hand out to touch the furniture as if to guide herself: Sleepwalking, thinks Karen. Before, her mother’s fingers were slim, the nails polished. She was proud of her hands. But now her hands are swollen and clumsy and there is no ring any more on her wedding finger. She’s wearing a grey housecoat and slippers that Karen has never seen before, and also she has never before seen her mother’s face.

Not this face. It’s a flat face with a dull shine on it, like the dead fish in the white enamel trays at the fish store: A fading light, silvery, like scales. She turns this face towards Karen; it’s expressionless as a plate. Eyes of china. Suddenly Karen is framed in those eyes, a small pale girl sitting on a nubbly chair, a girl her mother has never seen before. Karen brings her two hands up to her mouth and breathes in, a gasp, the reverse of a scream.

“Gloria. How’re you feeling?” says Uncle Vern.

Karen’s mother’s head swings towards him, a ponderous head, heavy. The hair on it is pulled back, held with clips. Karen’s mother used to do her hair up in pincurls, and when she combed it out it would be wavy. This hair is plain and straight, and filmed over, as if it’s been kept in a cupboard. Karen thinks about her grandmother’s root cellar, with its smell of indoor earth and its rows of preserve bottles, bright berries glassed over, powdered with dust.

“Fine,” says Karen’s mother, after a minute.

“I can’t stand it,” says Aunt Vi. She dabs at her eyes with a hankie. Then, in a firmer voice: “Karen, aren’t you going to give your mother a kiss?”

Aunt Vi’s questions are like orders. Karen slides off her chair and goes over to this woman. She doesn’t put her arms around her, she doesn’t touch her with her hands. She bends her body from the waist and places her lips against the woman’s cheek. She hardly presses at all, but her mouth sinks in and down, on the cheek that is like cool rubber. She thinks of Pinky without a head, collapsing in the barnyard, becoming ham. Her mother has the texture of luncheon meat. She feels sick to her stomach.

Her mother receives the kiss passively. Karen steps back. There is no red fight around her mother now. Only a faint mauve-brown shimmer.

In the car on the way home, Karen sits between Aunt Vi and Uncle Vern instead of in the back where she usually sits. Aunt Vi wipes at her eyes: Uncle Vern asks Karen if she wants an ice cream cone. She says no thank you, and he pats her knee.

“I felt so bad, my own little sister; but I had to do it,” Aunt Vi says, on the phone. “It was the third time, and what could I do? I don’t know where she got them! Lucky the empty bottle was right there beside her so at least we could tell the doctor what she took. It’s just a wonder we were in time. Something in her voice, I guess; well, it’s not like I hadn’t heard it before! When we got there she was out cold. She had bruises on her mouth for weeks, they had to pry it open to get the hose down, and today it was like you wouldn’t of known her. I don’t know—shock treatments, I guess. If that doesn’t work, they’ll have to do an operation,” She says operation in that solemn voice, the voice she uses for saying grace, as if it’s a holy word. She wants it, this operation, Karen can tell. If her mother has an operation, some of that holiness will rub off on Aunt Vi.

Karen went to school, where she said little and did not make friends. She was not teased either, she was mostly ignored. She knew how to do that, make herself invisible. All she had to do was to suck in the light around her body; it was like sucking in her breath. When the teacher looked at her the look went right through, to whoever was sitting behind her. This way

Karen hardly needed to be in the classroom at all. She let her hands do whatever was required: long rows of a’s and b’s, neat columns of numbers. She got gold stars for neatness. Her paper snowflake and her paper tulip were among the ten pinned up on the corkboard.

Every week, then every two weeks, then every three, she went with her aunt and uncle to visit her mother. Her mother was in a different hospital now. “Your mother is very ill,” Aunt Vi told her, but Karen didn’t need to be told. She could see the illness spreading on her mother’s skin, like the hairs on arms, gone out of control; like filaments of lightning, only very small and slow. Like grey mould spreading through bread. When her mother was veined through and through like that, then she would die. Nobody could stop her, because that was what she wanted to do.

Karen thought about using her wishbone but she knew it wouldn’t be any good. To make awish work you had to really want it, and she didn’t want this woman to stay alive. If she could have had her mother back the way she was before, during the good times, yes. But she knew this was impossible. There wasn’t enough of that mother left. So she kept the wishbone in the hem of the curtain, checking once in a while to make sure it was still there.

Karen sat in her room. Sometimes she banged her head softly against the wall, so she wouldn’t have to think. Or she looked out the window a lot. Or she looked out the window at school. What she looked at was the sky. She thought about the summer. Maybe next summer her aunt and uncle would go on a vacation and she could be back at her grandmother’s farm, gathering the eggs, picking yellow beans in the sun.

On her eighth birthday Karen has a cake. Aunt Vi has baked it, and put sugar roses on it from the store, and eight candles. She asks Karen if she wants to have a little friend over, but Karen says no. So they eat the birthday dinner by themselves, the three of them, Oh Lord, bless this food to our use, Amen, and there are tuna and egg salad sandwiches, and peanut butter and jelly, and Aunt Vi says, “Isn’t this nice,” and then there is Neapolitan ice cream in three colours, white, pink, and brown. After that the cake. Aunt Vi lights the candles and tells Karen to blow them out and make a wish, but Karen just sits there, looking at the flames.

“I don’t think she’s ever had a cake before,” Aunt Vi says to Uncle Vern, and Uncle Vern says, “Poor little tyke’” and ruffles Karen’s hair. He does this often these days and Karen doesn’t like it. Uncle Vern’s hands have a heavy luminescence around them, thick like jelly, sticky, brown-green. Sometimes Karen examines her blonde hair in the mirror to see if any of it has come off.

“Make a wish,” says Uncle Vern heartily. “Wish for a bicycle!”

“You have to close your eyes,” says Aunt Vi.

So to humour them Karen closes her eyes, and sees nothing but the sky, and opens her eyes again and obediently blows out the candles. Aunt Vi and Uncle Vern clap their hands, applauding, and Uncle Vern says, “Well, what do you know! Look what we have here!” and out of the kitchen he wheels a brandnew bicycle, bright red. It’s decorated with pink ribbons and has a balloon tied to one handle. “What do you think of that?” says Uncle Vern eagerly.

It’s dusk; the smell of mowed grass comes in through the open window, the June bugs batter themselves against the screen. Karen looks at the bicycle, at its glinting spokes and chains and its two black wheels, and knows that her mother is dead.

Her mother did not die for another three weeks, but it was the same thing, because sometimes (thinks Charis) there is a fold in time, like the way you fold the top bedsheet down to make a border, and if you stick a pin through at any spot, then the two pinholes are aligned, and that’s the way it is when you foresee the future. There’s nothing mysterious about it, any more than there is with a backwash in a lake or with harmony in music, two melodies going on at the same time. Memory is the same overlap, the same kind of pleat, only backwards.

Or maybe the fold is not in time itself but in the mind of the person watching. In any case, Karen looks at the bicycle and sees her mother’s death, and collapses onto the floor, crying, and Aunt Vi and Uncle Vern are baffled and then angry, and tell her she is a lucky girl; a lucky, ungrateful girl, and she can’t explain.

There was a funeral but not very many people came. A few teachers from her mother’s old school, some friends of Aunt Vi’s. Her grandmother wasn’t there, but Karen didn’t find that strange—her grandmother in the city would have been out of place. There was another reason as well—stroke, said Aunt Vi, and nursing home, in the tone of voice that was supposed to enlist other people’s sympathy for her—but these words meant nothing to Karen and she didn’t want to hear them, so she put them out of her mind. She had on a navy blue dress, which was the closest Aunt Vi could get to black, at short notice, although—she said on the phone—she should’ve seen it coming. Karen wasn’t allowed to visit her mother’s body in the coffin because Aunt Vi said it was too shocking a thing for a young child, but she knew anyway what it would look like. The same as alive, only more so.

Uncle Vern and Aunt Vi have had part of their cellar re-done. They’ve had plasterboard put over the cement-block walls, linoleum with thick carpeting over it on the floor. They’ve made a rec room down there, rec not like wreck but like recreation. There’s a bar with bar stools, and a set of chinese chequers for Karen, and a television set. It’s the second television set they’ve bought; the first one is kept in the living room. Karen likes to watch the set in the rec room, out of everyone’s way. She doesn’t actually have to pay attention to what’s in front of her on the screen; she can be by herself, inside her head, and no one will ask what she’s doing.

It’s September, but outside, upstairs, it’s still dry and hot. Karen sits on the carpet, in the rec room where it’s cooler, in bare feet and shorts and a sleeveless top, watching Kukla, Fran amp; Ollie on TV Kukla, Fran and Ollie are puppets, or two of them are. Overhead, Aunt Vi’s shoes clack busily back and forth across the kitchen floor. Karen hugs her own knees, rocking gently. After a while she gets up and goes to the bar sink and runs herself a glass of water, and puts in an ice cube out of the little refrigerator, and sits back down on the rug.

Uncle Uern comes down the stairs. He’s been mowing the lawn. He is a deeper red than usual, and the smell of sweat encircles him, like the water drops when a wet dog shakes itself. He goes to the bar and gets out a beer, takes the cap off the bottle and drinks down half, and wipes his wet face with the towel beside the sink. Then he sits down on the sofa. The sofa is a sofa-bed, in case they have visitors, because Karen has the room that used to be the guest room. That room is still called “the guest room,” although Karen is living in it. They don’t have visitors, though.

Karen gets up. She intends to go upstairs, because she knows what will happen next, but she isn’t fast enough. “Come on,” says Uncle Vern. He pats his huge, hairy knee, and Karen goes reluctantly towards him. He likes her to sit on his knee. He thinks it’s fatherly. “You’re our little girl now,” he says fondly. But he isn’t really fond of her, Karen knows that. She knows she is unsatisfactory to him, because she doesn’t talk to him, she doesn’t hug him, she doesn’t smile enough. It’s his smell she doesn’t like. That, and his greeny-brown light.

She sits on Uncle Vern’s knee and he pulls her higher up onto his lap and encircles her with one of his red arms. With the other hand he strokes her leg. He often does this, she’s used to it; but this time he moves his hand up higher, between her legs. Kukla, Fran and Ollie continue to talk in their made-up voices; Kukla is some sort of a dragon. Karen squirms a little, trying to move herself away from the enormous fingers, which are inside her shorts now, but the arm tightens around her stomach arid Uncle Vern says into her ear, “Hold still!” He does not sound hearty, wheedling, the way he usually does; he sounds angry. He has both hands on her now, he rubs her back and forth across himself as if she’s a washcloth; his sticky breath is all over her ear. “You like your old Uncle Vern, don’t you?” he says furiously.

“You two!” Aunt Vi calls gaily down the cellar stairs. “Suppertime! There’s corn on the cob!”

“Be right there!” Uncle Vern yells hoarsely, as if the words have been expelled from him by a kick in the stomach. He shoves one finger right up inside Karen, and groans as if he’s been stabbed. He holds Karen against himself for another minute: the energy is leaking out of him and he needs a bandage. Then he lets her go.

“Scamper upstairs,” he tells her. He’s trying for his fake voice, his uncle voice, but he hasn’t got it back; his voice is desolate. “Tell your Auntie Vi I’ll be up in a minute:” Karen looks behind herself, to see if the back of her shorts is browny-green, but it isn’t; only wet. Uncle Vern is wiping himself off with the bar towel.

Uncle Vern lurks, he lies in wait. Karen evades him, but she can’t evade him all the time. The strange thing is that Uncle Vern never comes looking for her when Aunt Vi isn’t in the house. Maybe he likes the danger; or maybe he knows that with Aunt Vi there, Karen won’t dare to make a sound. It’s unclear how he knows this, or why this is so, but it’s true. Karen’s fear of Aunt Vi’s finding out is greater than her fear of Uncle Vern’s sausage fingers.

Soon one finger isn’t enough for him. He stands Karen in front of him, facing away so she can’t see, a big knee holding her on either side, and puts his hands up under her pleated school skirts and slides her panties right down, shoving something hard in between her legs from behind. Or he uses two fingers, three. It hurts, but Karen knows that people who love you can do painful things to you, and she tries hard to believe that he does love her. He says he does. “Your old uncle loves you,” he tells her, scraping his face against hers.

When they are having dinner afterwards he laughs more, he talks louder, he tells jokes, he kisses Aunt Vi on the cheek. He brings them both presents: boxes of chocolates for Aunt Vi, stuffed animals for Karen. “You’re just like our daughter,” he says. Aunt Vi smiles thinly. Nobody can say they aren’t doing the right thing.

Karen loses her appetite: the effort of not thinking about Uncle Vern, both when he’s there and when he isn’t, is making her weak. She becomes thinner and paler, and Aunt Vi discusses her on the phone—“It’s the loss of her mother, she’s the quiet type but you can tell she feels it. She just mopes around. I wasn’t expecting it to go on this long. She’s almost ten!” She takes Karen to the doctor to see if she has anemia, but she doesn’t.

“Tell me what’s wrong,” says Aunt Vi. “It’s better if you talk about it. You can tell me!” She has that solemn, avid look on her face, she’s expecting to hear about Karen’s mother. She urges and urges.

“I don’t like Uncle Vern touching me,” says Karen finally. Aunt Vi’s face goes slack, then hardens. “Touching you?” she says suspiciously. “What do you mean, touching?”

“Touching,” says Karen miserably. “Down there.” She points.

She knows already she’s done a wrong, an unforgivable thing. Up to now Aunt Vi has been willing to tolerate her, even to put on a show of liking her. Not any more.

Aunt Vi’s lips are white, her eyes are sparkling dangerously. Karen looks down at the floor so as not to see. “You’re exactly like your mother,” says Aunt Vi. “A liar. I wouldn’t be surprised if you went crazy, just like her. God knows it runs in the family! Don’t you ever say such an evil thing about your uncle! He loves you like a daughter! Do you want to destroy him?” She starts to cry. “Pray to God to forgive you!” Then her face changes again. She wipes her eyes, she smiles. “We’ll just forget you ever said that, dear,” she says. “We’ll both forget it. I know things have been hard on you. You never had a father.”

After that, what can be done? Nothing at all. Uncle Vern knows Karen has told. He is nicer than ever to Aunt Vi. He is even nice to Karen, in front of people; but sadly, as if he’s forgiving her. When Aunt Vi isn’t looking he stares across the dinner table at Karen, his eyes in his face of uncooked beef shining with triumph. You can’t win this fight, he’s telling her. She can hear the words as clearly as if he’s spoken them. For the time being he’s-avoiding her, he no longer tracks her through the house, but he’s waiting. He’s itching to get his hands on her, but not with any pleading whispers. Now he won’t ask if she likes him, now he’s more like her mother used to be, before she would start screaming and reach for the broom handle. That ominous lull, that softness.

Karen sleeps with her head under her pillow, because she doesn’t want to hear or see; but she’s sleepwalking again, more than ever. She wakes up in the living room, trying to get out through the French windows, or in the kitchen, shaking the back door handle. But Aunt Vi locks all the doors.

Karen is sitting straight up in her bed, holding her pillow against her chest. Her heart is beating with terror. There’s a man standing in her dark bedroom; it’s Uncle Vern, she can see his face in the light that comes through from the hall, just before he eases the door shut. His eyes are open, but he’s sleep-walking; he has his striped pyjamas on, he has a glazed look. Don’t ever wake a person sleepwalking, said her grandmother. It breaks their journey.

Uncle Vern sleepwalks quietly across the floor to Karen’s bed. With him comes a smell of stale sweat and rancid meat. He kneels and the bed heaves like a boat, he pushes and Karen falls backwards. “You’re a little bastard, that’s what you are,” he whispers softly. “A sly little bastard.” He’s talking in his sleep.

Then he falls on top of Karen and puts his slabby hand over her mouth, and splits her in two. He splits her in two right up the middle and her skin comes open like the dry skin of a cocoon, and Charis flies out. Her new body is light as a feather, light as air. There’s no pain in it at all. She flies over to the window and in behind the curtain, and stays there, looking out through the cloth, right through the pattern of pink and orange roses. What she sees is a small pale girl, her face contorted and streaming, nose and eyes wet as if she’s drowning—gasping for air, going under again, gasping. On top of her is a dark mass, worrying at her, like an animal eating another animal. Her entire body—because Charis can see right through things, through the sheets, through the flesh to the bone—her body is made of something slippery and yellow, like the fat in a gutted hen. Charis watches in amazement as the man grunts, as the small child wriggles and flails as if hooked through the neck. Charis doesn’t know she is Charis, of course. She has no name yet.

The man sits up, his hand over his heart, gasping for air now himself. “There,” he says, as if he’s completed something: a task. “Shut up now I didn’t hurt you. Shut up! You keep your dirty little mouth shut about this or I’ll kill you!” Then he groans, the way he does in the bathroom in the mornings. “Oh God, I don’t know what got into me!”

The small girl is rolling over onto her side. As Charis watches, she leans over and vomits onto the floor, onto the man’s feet. Charis knows why. It’s because that brown-green light is inside her body now, thick and sticky, like goose turds. It came out of Uncle Vern and went into Karen, and she has to get it out.

The door opens Aunt Vi is standing there, in her nightgown. “What is it, what’s going on?” she says.

“I heard her in here,” says Uncle Vern. “She was calling—I think she’s got the stomach flu:”

“Well, for heaven’s sake,” says Aunt Vi: “You should’ve had sense enough to take her into the bathroom. I’ll get the floor cloth. Karen, are you going to do that again?”

Karen has no speech, because Charis has taken all the words with her. Karen opens her mouth, and Charis is sucked back, it’s as if she’s being vacuumed into their shared throat. “Yes,” she says.

After the third time Karen knows she is trapped. All she can do is split in two; all she can do is turn into Charis, and float out of her body and watch Karen, left behind with no words, flailing and sobbing. She will have to go on like this forever because Aunt Vi will never hear her, no matter what she says. She would like to take an axe and chop Uncle Vern’s head off, and Aunt Vi’s too, as if they were chickens; she would watch the grey smoke of their lives twist up out of them. But she knows she could never kill anything. She isn’t hard enough.

She takes the wishbone out of the hem of her curtain and closes her eyes, and holds both stems of the wishbone, and pulls. What she wishes for is her grandmother. Her grandmother is far away now, almost like a story she was told once; she can hardly believe she once lived at such a place as the farm, or even that there is such a place. But she wishes anyway, and when she opens her eyes her grandmother is there, coming right into her room through the closed door, wearing her overalls and frowning a little, and smiling also. She walks towards Karen and Karen feels a cool wind against her skin, and the grandmother holds out both of her knobby old hands, and Karen puts out her own hands and touches her, and her hands feel as if sand is falling over them. There’s a smell of milkweed flowers and garden soil. The grandmother keeps on walking; her eyes are light blue, and her cheek comes against Karen’s, cool grains of dry rice. Then she’s like the dots on the comic page, close up, and then she’s only a swirl in the air, and then she’s gone.

But some of her power stays there, in Karen’s hands. Her healing power, her killing power. Not enough to get Karen out of the trap, but enough to keep her alive. She looks at her hands and sees a trace of blue.

What she has to do is wait. She must wait like a stone, until it’s time. So this is what she does. As soon as Uncle Vern touches her she splits in two, and the rest of the time she waits.

Her grandmother is dead, or dead to this life, though Karen has seen her and she knows there isn’t any death really. The Bible arrives in a large box, addressed to Karen, and Karen puts it in her suitcase under her bed, ready for when she can leave. Her grandmother has left her the farm, but because Karen’s not old enough she can’t have it or even go there, although she wants to. Uncle Vern and Aunt Vi are her guardians. They are in control.

When she grows breasts and hair under her arms and on her legs and between them, and has her first period, Uncle Vern leaves her alone. There is a space between them, but it isn’t like an absence. It’s a presence, transparent but thicker than air. Uncle Vern is afraid of her now, he’s afraid of what she’s going to do or say; he’s afraid of what she remembers, he’s afraid of being judged. Maybe it’s because her eyes are no longer timid, no longer vacant or beseeching. Her eyes are stone. When she looks at him with her stone eyes it’s as if she’s reaching in through his ribs and squeezing his heart so it almost stops. He says he has a heart condition, he takes pills for it, but they both know it’s a thing she’s doing to him. Every time she looks at him she feels loathing, and a deep nausea. She’s disgusted with him, but also with her body, because it still has his dirt inside it. She must think of ways to get clean inside.

When she feels those things she has to seal them off. She has to or else she will be destroyed. She splits herself in two and stays with the cooler part, the clearer part of herself. She has a name for this part now: she is Charis. She picked the hint for her new name out of the Bible, with a pin: “The greatest of these is Charity.” Charity is better than Faith and Hope. She can use this new name only to herself, of course. Everyone else still calls her Karen.

Charis is more serene than Karen, because the bad things have stayed behind, with small Karen. She’s polite to her aunt, but remote: One day, when she is over eighteen, she asks the two of them what they have done with her grandmother’s money. Her uncle says he’s invested it for her and she can have all of it when she’s twenty-one, and meanwhile some of it can be used for her education. Aunt Vi acts as if this is an act of great generosity, as if the money belongs to them and they’re giving it away. But nevertheless they’re both relieved when she goes to university and moves into McClung Hall. Aunt Vi is nervous of her because of her stony eyes; as for Uncle Vern, he doesn’t know what she remembers. He hopes she’s forgotten it all, but he isn’t sure.

She remembers everything, or rather Karen does; but Karen is in storage. Charis only remembers when she takes Karen out, from the suitcase under her bed where she has put her. She doesn’t do this often. Karen is still little, but Charis is growing up.

Charis turned twenty-one; but nothing was said about her grandmother’s money. She didn’t care. She wouldn’t take money from them anyway, because even though it was really her own money it had been in their hands, it was dirty She wouldn’t be able to get it anyway without a fight.

She didn’t want to fight. Instead she wanted to go away somewhere else, and as soon as she felt ready she simply dropped out of sight. Out of their sight. It wasn’t so hard when you knew no one would come looking for you. She left university before finishing—she was flunking her courses anyway, because they failed to hold her attention—and went travelling. She hitchhiked, she took buses. She worked as a waitress, she worked in an office. For a while she was in an ashram on the West Coast, for a while she stayed on a communal farm in Saskatchewan. She did various things.

Once she went back to the farm, her grandmother’s farm; she wanted to see it. But it wasn’t a—farm any more, it was a subdivision. Charis tried not to mind, since nothing that was or had been would perish; and the farm was still inside her, it was still hers because places belonged to the people who loved them.

When she was twenty-six she dumped her old name. A lot of people were changing their names, then, because names were not just labels, they were also containers. Karen was a leather bag, a grey one. Charis collected everything she didn’t want and shoved it into this name, this leather bag, and tied it shut. She threw away as many of the old wounds and poisons as she could. She kept only the things about herself that she liked or needed.

She did all of this inside her head, because the events there are just as real as the events anywhere else. Still inside her head, she walked to the shore of Lake Ontario and sank the leather bag into the water.

That was the end of Karen. Karen was gone. But the lake was inside Charis really, so that’s where Karen was too. Down deep.