Margaret Atwood - The Tent

We go into the museums, where we muse. We muse about the time before, we muse about the something that was done, we muse about the Native inhabitants, who had a bad time of it at our hands despite arrows, or, conversely, despite helpfulness. They were ravaged by disease: nobody painted that. Also hunted down, shot, clubbed over the head, robbed, and so forth. We muse about these things and we feel terrible. We did that, we think, to them. We say the word them, believing we know what we mean by it; we say the word we, even though we were not born at the time, even though our parents were not born, even though the ancestors of our ancestors may have come from somewhere else entirely, some place with dubious hats and with a flag quite different from the one that was wafted ashore here, on the wind, on the ill wind that (we also muse) has blown us quite a lot of good. We eat well, the lights go on most of the time, the roof on the whole does not leak, the wheels turn round.

As for them, our capital cities have names made from their names, and so do our brands of beer, and some but not all of the items we fob off on tourists. We make free with the word authentic. We are enamoured of hyphens, as well: our word, their word, joined at the hip. Sometimes they turn up in our museums, without hats, in their colourful clothing from before, singing authentic songs, pretending to be themselves. It’s a paying job. But at moments, from time to time, at dusk perhaps, when the moths and the night-blooming flowers come out, our hands smell of blood. Just the odd whiff. We did that, to them.

But who are we now, apart from the question Who are we now? We all share that question. Who are we, now, inside the we corral, the we palisade, the we fortress, and who are they? Is that them, landing in their illicit boats, at night? Is that them, sneaking in here with outlandish hats, with flags we can’t even imagine? Should we befriend them or shoot them with arrows? What are their plans, immediate, long-term, and will these plans of theirs serve us right? It’s a constant worry, this we, this them.

And there you have it, in one word, or possibly two: post-colonial.

The Heritage House is where we keep the Heritage. It wasn’t built for that—it was once a place where people really lived—but the way things needed to be done in it was cumbersome, what with the water coming out of a well, and the light coming out of oil lamps and tallow candles, and the heat coming out of a stone fireplace, and then there were the chamber pots to be emptied and the tin bathtubs to be filled. Also it was so hard to keep the rooms clean. So people built newer houses, with plumbing and so forth, but the Heritage House was not torn down, and when we decided to have some Heritage we agreed that the Heritage House was a good place to store the stuff.

We spruced it up, of course: fresh paint, brass polish, floor wax. Women were hired to show people around: they are adept at smiling and giving explanations, and nodding. Among us, it is thought that if men perform too many of these activities their faces will crack all over and peel off, and there will be nothing but gristle underneath.

The people who visited the Heritage House were mostly women as well. They wanted the explanations that could be found there—why some chairs were higher than other chairs, in the days of Heritage, and who did the scrubbing of the tin bathtubs and the emptying of the chamber pots, and how the water used to make its way out of the well. They wanted to know how things got the way they are now, and they hoped that the explanations given by the smiling women in the Heritage House might help.

Men didn’t care so much about those subjects, and so they didn’t go. Also they said that Heritage ought to mean things that have been inherited, passed down from father to son as it were, but since nobody did the so-called heritage things any more, or even thought about them except when they were in the Heritage House getting nodded and smiled at and bored to death with explanations, Heritage House was a misnomer in the first place and they didn’t see why they should have to pay taxes to keep the joint going.

Over time, the Heritage House filled up. It was such a convenient place to stash things you no longer had a use for but didn’t want to throw out. More and more Heritage was crammed in. An annex was built, in the style of the original edifice, with a tea room in it where you could rest your feet and relax—Heritage could be exhausting—and more female guides were hired, and research was done on authentic costumes for them to wear. But then there was a change of government and funds were cut. Perhaps some of the Heritage should be disposed of, it was said. But by now there was so much Heritage jammed in there that just sorting it out would take much more money than anyone wanted to spend. So nothing was done.

I went to the Heritage House myself, the other week. It was in disrepair. The windows were opaque with dust, the front steps were a disgrace: it was clear to see that nothing had been scrubbed off or fixed up in years. I rang the rusted bell for a long time before anyone answered it. Finally the door opened. I could see a long hallway, piled to the ceiling with boxes and crates. Each box was labelled: CORSETS. MIXMASTERS. THUMBSCREWS. CALCULATORS. LEATHER MASKS. CARPET SWEEPERS. CHASTITY BELTS. SHOE BRUSHES. MANACLES. ORANGE STICKS. MISCELLANEOUS.

From behind the door an old woman appeared. She was wearing a chenille bathrobe. She let me in, pushing aside a stack of yellowing newspapers. The place stank of mouse droppings and mildew.

She nodded at me, she smiled. She hadn’t lost the knack. Then she launched into a stream of explanations; but the language she spoke was obsolete, and I couldn’t make out a word.