Margaret Atwood - Alias Grace

“Ah,” she says, nodding shrewdly at him, as if this explains it. “So you want to see the house. We do get a lot of doctors who want to see it. More than the other sorts, even the lawyers. Well, now that you’re here, you might just as well. In here is the parlour, where they kept the piano, I’m told, in Mr. Kinnear’s time, that Miss Nancy Montgomery used to play at. She sang like a canary, so they say of her. Very musical, she was.” She smiles at Simon, the first smile she’s bestowed. Simon’s tour is thorough. He is shown the dining room, the library, the winter kitchen; the summer kitchen, the stable and loft, “where that scoundrel McDermott slept at night.” The upstairs bedrooms —

“Lord only knows what went on up here” — and Grace’s little room. The furniture is all different, of course. Poorer, shabbier. Simon tries to imagine what it must have looked like then, but fails. With a fine showmanship, the housekeeper saves the cellar till the last. She lights a candle and descends first, cautioning him against slipping. The light is dim, the corners cobwebbed. There’s a dank smell, of earth and stored vegetables. “He was found right here,” says the housekeeper with relish, “and she was hid over by that wall. Though why they bothered to hide her, I don’t know. Crime will out, and out it did. It’s a pity they didn’t hang that Grace, and I’m not alone in saying so.”

“I am sure you aren’t,” says Simon. He’s seen enough, he wants to be gone. At the front door he gives her a coin — it seems the right thing — and she nods and pockets it. “You can see the graves, too, in the churchyard in town,” she tells him. “There’s no names, but you can’t miss them. They’re the only ones with pickets round.”

Simon thanks her. He feels he’s sneaking away after some discreditable peepshow. What sort of a voyeur has he become? A thoroughgoing one, apparently, as he heads straight for the Presbyterian church; easy to find, since it’s the only steeple in sight.

Behind it is the graveyard, neat and green, the dead kept under firm control. No rambling weeds here, no tattered wreaths, no jumble and confusion; nothing like the baroque efflorescences of Europe. No angels, no Calvaries, no nonsense. Heaven, for the Presbyterians, must resemble a banking establishment, with each soul tagged and docketed, and placed in the appropriate pigeonhole. The graves he seeks are obvious. Each has a wooden picket fence around it, the only such fences in the graveyard: to keep the occupants penned in, no doubt, since the murdered have the reputation of walking. Even the Presbyterians, it appears, are not exempt from superstition. Thomas Kinnear’s picket fence is painted white, Nancy Montgomery’s black, an indication perhaps of the town’s judgment upon her: murder victim or not, she was no better than she should be. They hadn’t been buried in the same grave — no need to endorse the scandal. Oddly, Nancy‘s grave has been placed at Kinnear’s feet, and at right angles to him; the effect is of a sort of bed rug. There’s a large rose bush filling almost the whole of Nancy’s enclosure — the old broadsheet ballad, then, was prophetic —

but no vine in Thomas Kinnear’s. Simon picks a rose from Nancy‘s grave, with some half-formed notion of taking it back to Grace, but then thinks better of it.

He spends the night at an unprepossessing inn halfway back to Toronto. The windowpanes are so grimy he can scarcely see out of them, the blankets smell of mildew; directly below his room, a group of raucous drinkers carouses till well past midnight. These are the hazards of provincial travel. He places a chair against the door, to prevent unwelcome intrusion.

In the morning he arises early and inspects the various insect bites he’s acquired during the night. He douses his head in the scant basin of lukewarm water brought by the chambermaid, who doubles as the scullery maid downstairs; the water smells of onions.

After breakfasting on a slice of antediluvian ham and an egg of uncertain age, he continues on his way. Few others are abroad; he passes a wagon, an axeman felling a dead tree in his field, a labourer pissing into the ditch. Wisps of mist float here and there above the fields, dissipating like dreams in the rising light. The air is hazy, the roadside weeds hung with dew; the horse snatches mouthfuls of them as it passes. Simon curbs it halfheartedly, then lets it amble. He feels idle, remote from all goals and effort. Before taking his afternoon train, he has one more errand. He wants to visit the grave of Mary Whitney. He wants to make sure she really exists.

The Adelaide Street Methodist Church is the one Grace named; he’s looked it up in his notes. In the graveyard, polished granite is replacing marble, and verses are becoming scarce: ostentation lies in size and solidity, not in ornamentation. The Methodists like their monuments monumental; block-like, unmistakable, like the thick black lines drawn under finalized accounts in his father’s ledger book: Paid In Full.

He walks up and down the rows of graves, reading over the names — the Biggs and the Stewarts, the Flukes and the Chambers, the Cooks and the Randolphs and the Stalworthys. At last he finds it, over in a corner: a small grey stone, which looks older than the nineteen years that have passed. Mary Whitney; the name, nothing more. But Grace did say that the name was all she could afford. Conviction leaps in him like a flame — her story is true, then — but it dies as quickly. What are such physical tokens worth? A magician produces a coin from a hat, and because it’s a real coin and a real hat, the audience believes that the illusion too is real. But this stone is only that: a stone. For one thing, it has no dates on it, and the Mary Whitney buried beneath it may not have any connection with Grace Marks at all. She could be just a name, a name on a stone, seen here by Grace and used by her in the spinning of her story. She could be an old woman, a wife, a small infant, anyone at all. Nothing has been proved. But nothing has been disproved, either.

Returning to Kingston, Simon travels first class. The train is almost full, and to avoid the crowding it’s worth the expense. As he’s carried eastward and Toronto recedes behind him, and Richmond Hill and its farms and meadows, he finds himself wondering what it would be like to live back there, in that lush and peaceful countryside; in, for instance, Thomas Kinnear’s house, with Grace as his housekeeper. Not only his housekeeper: his locked and secret mistress. He’d keep her hidden, under a different name. A lazy, indulgent life it would be, with its own slow delights. He pictures her sitting in a chair in the parlour, sewing, the lamplight falling on the side of her face. But why only mistress? It comes to him that Grace Marks is the only woman he’s ever met that he would wish to marry. It’s a sudden notion, but once he’s had it he turns it over, considering it. He thinks, with a certain mordant irony, that she may also be the only one who would satisfy all of his mother’s oft-hinted requirements, or almost all: Grace is not, for instance, rich. But she has beauty without frivolity, domesticity without dullness, and simplicity of manner, and prudence, and circumspection. She is also an excellent needlewoman, and could doubtless crochet rings around Miss Faith Cartwright. His mother would have no complaints on that score. Then there are his own requirements. There is passion in Grace somewhere, he’s certain of it, although it would take some hunting for. And she’d be grateful to him, albeit reluctantly. Gratitude by itself does not enthral him, but he likes the idea of reluctance.

But then there’s James McDermott. Has she been telling the truth in that respect? Did she really dislike and fear the man as much as she’s claimed? He’d touched her, certainly; but how much, and with how much of her consent? Such episodes appear differently in retrospect than in the heat of the moment; nobody knows that better than he, and why should it be any different for a woman? One prevaricates, one makes excuses for oneself, one gets out of it the best way one can. But what if, some evening in the lamplit parlour, she were to reveal more than he would care to know?