Margaret Atwood - The Robber Bride

Or it may be otherwise; it may be that there’s no room left for West, between the two of them. They’re too close together. So there’s Zenia and Tony now, and Zenia and West; but no longer any West and Tony.

Sometimes there are the three of them together. Tony goes with Zenia and West to their place, the new one they moved into after painting their. old one black. The new place isn’t new, but dingy and cheap and falling apart, an over-the-store walk-up east on Queen. This apartment has a long living room with one window, its glass rattled by passing streetcars; a big raffish kitchen, with tattered orange wallpaper and a table, a wooden one with cracked blue paint, and four mismatched chairs; and a bedroom, where Zenia and West sleep together on a mattress on the floor.

Zenia makes them scrambled eggs, and strong, amazing coffee and West plays his lute for them: he does have one, after all. He sits on a cushion on the floor, his long legs bent at the knees and sticking up like the back legs of a grasshopper, and fingers deftly, and sings old ballads.

The water is wide, I cannot get over, And neither have I wings to fly, Build me a boat that can carry two, And both shall row, my love and I, he sings. “There’s an Irish version too,” he adds, “with a boatman.

Really he is singing for Zenia, not for Tony at all. He is deeply in love with Zenia; Zenia has told Tony this, and indeed it’s obvious. Zenia must feel the same way about West, because she praises him, she extols him, she strokes him with her eyes. He is such a gentle man, she’s told Tony during their coffee talks; so thoughtful, unlike most men, who are slobbering brutes. He values her for the right reasons. He worships her! She is very fortunate to have found’such a sweet man. Of course he’s great in the sack as well.

The sack? thinks Tony. What is the sack? It takes her a minute. She has never been in the presence, before, of two people who are in love with each other. She feels like a stray child, ragged and cold, with her nose pressed to a lighted window. A toy-store window, a bakery window, with fancy cakes and decorated cookies. Poverty prevents her entrance. These things are for other people; nothing for her.

But Zenia seems to be aware of this, too—of Tony’s singleness, her forlorn wistfulness—and smooths it over. She’s very considerate. She distracts, she acts, She talks gaily of other things. Recipes, shortcuts, wrinkles, and twists: she hasn’t lived from hand to mouth for nothing, she has a full supply of useful knacks. The secret of the scrambled eggs, for instance, is the fresh chervil and chives—she has several pots of herbs growing on the windowsill—and a little water added, and not too high a flame; the secret of the coffee is the coffee grinder, a wooden one with a handle and an enchanting pull-out drawer.

Zenia is full of secrets. She laughs, she throws her secrets casually this way and that, her teeth flashing white; she pulls more secrets out of her sleeves and unfurls them from behind her back, she unrolls them like bolts of rare cloth, displaying them, whirling them like gypsy scarves, flourishing them like banners, heaping them one on top of another in a glittering, prodigal tangle. When she’s in the room, who can look at anything else?

But Tony and West do look—just for a moment—when Zenia has her back turned. They look sadly at each other, a little shamefaced. In thrall, is what they are. They know they can no longer drink beer together calmly in the afternoons. It is Zenia, now, who borrows Tony’s Modern History notes. West gets the benefit of them too, of course, but only secondhand:

Once Tony forgot to sign out of McClung Hall and then stayed at Zenia’s too late. She ended up spending the night on Zenia’s living-room floor, rolled in a blanket, on top of Zenia’s coat and her own coat and West’s. In the morning, very early, West went back with her to McClung Hall and gave her a boost onto the bottom platform of the fire escape, which was too high for her to reach otherwise.

It was a daring thing to do, staying out all night, but she doesn’t want to do it again. For one thing it was too humiliating, coming back with West on the streetcar and then the subway, unable to think of what she should be saying to him, then being lifted up by him and deposited on the fire escape platform like a parcel. For another thing, sleeping outside the bedroom with both of them inside it made her too unhappy.

She didn’t sleep, anyway. She couldn’t, because of the sounds. Thick sounds, unknown sounds, deep sounds, haircovered and snouted and root-like, muddy and hot and watery sounds from underneath the earth.

“I think your mother was a romantic,” says Zenia, out of nowhere. She is mixing batter for the langues de chat she’s making; Tony is sitting at the table copying out her own history notes for Zenia, who as usual is short of time. “I think she was in search of the perfect man.”

“I don’t think so,” says Tony. She’s a little taken aback: she thought the file on her mother was closed.

“She sounds fun-loving,” says Zenia. “She sounds full of life.”

Tony can’t quite understand why Zenia wants to excuse her mother. She herself has not done so, she realizes now. “She liked parties,” she says briefly.

“I bet she tried to have an abortion, and it didn’t work out,” says Zenia cheerfully. “Before she married your father. I bet she filled the bathtub up with boiling water and drank a lot of gin. That’s what they used to do:”

This is a darker view of her mother than Tony herself has ever taken. “Oh, no,” she murmurs. “She wouldn’t have done that!” Though it could be true. Maybe that’s why Tony is so small. Neither of her parents was particularly diminutive. Maybe her growth got stunted by the gin. But then, wouldn’t she be an idiot as well?

Zenia fills the shallow moulds and slides them into the oven. “The war was a strange time,” she says. “Everybody screwed everybody, they just cut loose! The men thought they were going to die, and the women thought that too. People couldn’t get used to being normal again, afterwards.”

Wars are Tony’s territory. She knows all this, she has read about it. Plagues have the same effect: a panic, a hothouse forcing, a sort of greedy hysteria. But it seems unfair that such conditions should have applied to her own parents. They should have been exempt. (Her father, the Christmas after her mother ran away, standing in the middle of the living room with an armful of glass ornaments, standing there in front of the-’’ naked Christmas tree as if paralyzed, not knowing what to do. Herself going for the stepladder, taking the ornaments gently from his hands. Here. I can hang them on! He would have thrown them, otherwise. Thrown them against the wall. Sometimes he would pause that way, in the middle of doing a simple thing, as if he’d gone blind or lost his memory. Or suddenly regained it. He was living in two times at once: hanging the Christmas tree ornaments, and blowing holes in enemy children. So no wonder, thinks Tony. Despite his increasingly drunken and fragmented and, yes, violent and frightening later years, she has more or less forgiven him. And if Anthea hadn’t run away, would he have ended up on the floor, with his blood soaking into the morning paper? Not likely.)

“She abandoned me,” says Tony.

“My own mother sold me,” says Zenia, with a sigh. “Sold you?” says Tony.

“Well, rented me out,” says Zenia. “For money. We had to eat. We were refugees. She’d made it as far as Poland before the war but she’d seen what was coming; she got out somehow, bribery or something, forged passports, or else she went down for a bunch of train guards, who knows? Anyway, she made it as far as Paris; that’s where I grew up. People were eating garbage then, they were eating cats! What could she do? She couldn’t get a job, God knows she didn’t have any skills! She had to have money somehow”