Margaret Atwood - The Robber Bride

She decides to go home. She’ll fill up the bathtub and put some orange peel into it, some rose oil, a few cloves; she’ll pin up her hair and get into the tub and let her arms float in the scented water. Steering herself towards this goal, she walks downhill, in the general direction of the lake and the ferry dock; but a block along she turns left and makes her way by a narrow alley to the next street, and then she turns left again, and now she’s back on Queen.

Her body doesn’t wish her to go home right now. Her body is urging her to have a cup of coffee; worse than that, a cup of espresso. This is so unusual—her body’s promptings of this kind are normally for fruit juice or glasses of water—that she feels obliged to do what it wants.

There’s a cafe, right across the street from the Toxique. It’s called the Kafay Nwar, and has a hot-pink neon sign in forties writing in the window. Charis goes into it and sits at one of the small round chrome-edged tables by the window, and takes off her cardigan, and when the waiter comes, wearing a pleated dress shirt, a black bow tie, and jeans, she orders an Espresso Esperanto—all the things on the menu have complicated names, Cappuccino Cappriccio, Tarte aux Tarts, Our Malicious Mudcake—and watches the door of the Toxique. It’s clear to her now that her body doesn’t want an espresso primarily. Her body wants her to spy on Zenia.

To make herself less obvious as a watcher she takes her notebook out of her tote bag, a lovely notebook she traded some of her paytime for. It has a hand-bound cover of marbled paper with a burgundy suede spine, and the pages are a delicate lavender. The pen she bought to go with it is pearl grey, and filled with grey-green ink. She got the pen at Radiance too, and the ink. It makes her sad to think of Radiance vanishing. So many gifts.

The notebook is for her to write her thoughts in, but so far she hasn’t written any. She hates to spoil the beauty of the blank pages, their potential; she doesn’t want to use them up. But now she uncaps her pearl grey pen, and prints: Zenia must go back. She once took a course in italic handwriting, so the message looks elegant, almost like a rune. She does one letter at a time, looking up between the words, over the tops of her reading glasses, so nothing going on across the street will escape her. ..

At first more people go in than out, and after that more people go out than in. None of the people who go in is Billy, not that she is realistically expecting him, but you never know. None of the people who come out is Zenia.

Her coffee arrives and her body tells her to drop two lumps of sugar into it, and so she does, and then she drinks the coffee quickly and feels the hit of caffeine and sucrose rush to her head. She’s focused now, she has X-ray vision, she knows what she has to do. Neither Tony nor Roz can help her, they don’t need to help her with this, because their stories, the stories with Zenia in them, have endings. At least they know what happened. Charis doesn’t, Charis has never known. It’s as if her story, the story with Billy and Zenia in it, was going along a path, and suddenly there were no more footprints.

At last, when Charis is beginning to think that Zenia must have slipped out the back or else vaporized, the door opens and she comes out. Charis lowers her eyes slightly; she doesn’t want to rest the full weight of her supercharged eyes on Zenia, she doesn’t want to give herself away. But Zenia doesn’t even glance in her direction. She’s with someone Charis doesn’t recognize. A young fair-haired man. Not Billy. He’s too slightly built to be Billy.

Though if it were Billy, he would hardly be young any more. He might even be fat, or bald. But in her head he has stayed the same age as he was the last time she saw him. The same age, the same size, everything the same. Loss opens again beneath her feet, the pit, the familiar trapdoor. If she were alone, if she weren’t here in the Kafay Nwar but home in her own kitchen, she would bang her forehead softly on the edge of the table. The pain is red and it hurts, and she can’t just wipe it away.

Zenia isn’t happy, Charis thinks. It’s not an insight, it’s more like a charm, an incantation. She can’t possibly be happy. If she were allowed to be happy it would be completely unfair: thertmust be a balance in the Universe. But Zenia is smiling up at the man, whose face Charis can’t quite see, and now she’s taking his arm and they’re walking along the street, and from this distance at least she looks happy enough.

Compassion for all living things, Charis reminds herself: Zenia is alive, so that means compassion for Zenia.

This is what it does mean, though Charis realizes, on taking stock, that at the moment she feels no compassion whatsoever for Zenia. On the contrary she has a clear picture of herself pushing Zenia off a cliff, or other high object.

Own the emotion, she tells herself, because although it’s a thoroughly unworthy one it must be acknowledged fully before being discarded. She concentrates on the image, bringing it closer; she feels the wind against her face, senses the height, hears the release of her arm muscles inside her body, listens for the scream. But Zenia makes no sound. She merely falls, her hair streaming behind her like a dark comet.

Charis wraps this image up in tissue paper and with an effort expels it from her body. All I want to do is talk to her, she tells herself. That’s all.

There’s a confusion, a rustling of dry wings. Zenia has left the oblong of the Kafay Nwar window. Charis gathers up her notebook, her grey pen, her cardigan, her reading glasses, and her tote bag, and prepares to follow.

In her dream Roz is opening doors. Nothing in here, nothing in there, and she’s in a hurry, the airport limousine is waiting and she has no clothes on, no clothes on her big slack raw embarrassing body. Finally she finds the right door. There are clothes behind it all right, long coats that look like men’s overcoats, but the overhead light won’t turn on and the first coat she pulls from the hanger is damp and covered with live snails.

The alarm goes off, none too soon. “Holy Moly, Mother of God,” Roz mutters groggily. She hates clothing dreams. They’re like shopping, except that she never does find anything she wants: But she’d rather dream about snail-covered coats than about Mitch.

Or about Zenia. Especially Zenia. Sometimes she has a dream about Zenia, Zenia taking shape in the corner of Roz’s bedroom, reassembling herself from the fragments of her own body after the bomb explosion: a hand, a leg, an eye. She wonders whether Zenia was ever actually in this bedroom, when Roz wasn’t. When Mitch was.

Her throat tastes of smoke. She flings out an arm, groping for the clock, and knocks her,latest trashy thriller off the nighttable. Sex killings, sex killings; this year it’s a11 sex killings. Sometimes she longs to be back in the sedate English country houses of her youth, where the victim was always some venomous old miser who deserved it rather than an innocent plucked at random off the street. The misers were killed by poison or a single bullet hole, the corpses did not bleed. The detectives were genteel grey-haired ladies who knitted a lot, or very smart eccentrics with no bodily functions; they focused on tiny, harmless-looking clues: shirt buttons, candle ends, sprigs of parsley. What she truly enjoyed was the furniture: rooms and rooms of it, and so exotic! Things she didn’t know existed. Tea trollies. Billiard rooms. Chandeliers. Chaises longues. She wanted to live in houses like that! But when she goes back to these books, they no longer interest her; not even the decor can hold her attention. Maybe I’m getting hooked on blood, she thinks. Blood and violence and rage, like everyone else.