Margaret Atwood - Cat's eye

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Then the doorbell begins to ring and the people come in. The house fills with the alien scent of cigarettes, which will still be there in the morning along with a few uneaten candies and salted nuts, and with bursts of laughter that get louder as time passes. I lie in my bed listening to the bursts of laughter. I feel isolated, left out. Also I don’t understand why this activity, these noises and smells, is called “bridge.” It is not like a bridge.

Sometimes Mr. Banerji comes to these bridge parties. I lurk in the corner of the hallway in my flannelette pajamas, hoping to catch a glimpse of him. I don’t have a crush on him or anything like that. My wish to see him is anxiety, and fellow feeling. I want to see how he is managing, how he is coping with his life, with having to eat turkeys, and with other things. Not very well, judging from his dark, haunted-looking eyes and slightly hysterical laughter. But if he can deal with whatever it is that’s after him, and something is, then so can I. Or this is what I think.

Princess Elizabeth is coming to Toronto. She’s visiting Canada with her husband, who is a Duke. It’s a Royal Visit. On the radio there are cheering crowds, and solemn voices describing what color she’s wearing, a different color every day. I crouch on the living room floor with the Maritimes fiddle music going on in the background, the Toronto Star spread out underneath my elbows, studying the picture of her on the front page. She’s older than she should be and more ordinary: no longer in a Girl Guide uniform as in the days of the Blitz, but not in an evening gown and a tiara either, like the Queen at the back of the classroom. She’s wearing a plain suit and gloves and carrying a handbag, like anyone, and she has on a ladies’ hat. But still she’s a Princess. On the inside of the paper there’s a full page of her, with women curtsying to her, little girls presenting bouquets of flowers. She smiles down upon them, always the same benevolent smile, and is described as radiant.

Day after day, crouching on the floor, turning the pages of the newspapers, I watch her make her way across the map, by plane, by train, by car, from city to city. I memorize the diagrams of her proposed route through Toronto. I’ll get a good chance to see her, because she’s supposed to drive right by our house, along the raw, potholed road that runs between the cemetery, with its spindly new trees and heaps of bulldozed earth, and the line of five new mud mountains.

The mud mountains are on our side of the road. They have recently appeared, replacing the strip of weedy field that used to be there before. Each mountain stands beside its own hole, roughly cellar-shaped, with a slop of muddy water at the bottom. My brother has claimed one of them for his own; he plans to excavate it, tunneling down from the top, then in from the side to make a side entrance. What he wishes to do in there is unknown.

I don’t know why the Princess is going to be driven past these mud mountains. I don’t think of them as anything she would necessarily want to see, but I’m not sure, because she’s seeing a lot of other things that don’t seem to be of more interest. There’s a picture of her outside a city hall, another beside a fish-canning factory. But whether she wants to see them or not, the mud mountains will be a good place to stand.

I am looking forward to this visit. I expect something from it, although I’m not sure what. This is the same Princess that defied the bombs in London, the one that is brave and heroic. I think something will happen for me on that day. Something will change.

The Royal Visit finally reaches Toronto. The day is overcast, with pinpoints of rain; spitting, they call it. I go out early and stand on the top of the middle mud mountain. There’s a straggly line of people, adults and children, along the roadside among the draggled weeds. Some of the children have small Union Jacks. I have one as well: they were handed out at school. There’s not much of a crowd, because not that many people live around here and some of them have probably gone farther downtown, to where there are sidewalks. I can see Grace and Carol and Cordelia, along the road towards Grace’s house. I hope they will not see me.

I stand on the mud mountain with my Union Jack hanging slack from its stick. It gets later and nothing happens. I think maybe I should go back to our house and listen to the radio, to see how far away the Princess is, but suddenly there’s a police car, to the left, coming along by the cemetery. It begins to drizzle. In the distance there’s cheering.

There are some motorcycles, then some cars. I can see the arms of the people along the road going up into the air, hear scattered hoorays. The cars are going too fast, despite the potholes. I can’t see which car is the right one.

Then I do see. It’s the car with the pale glove coming out the window, waving back and forth. Already it’s opposite me, already it’s passing. I don’t wave my Union Jack or cheer, because I see that it’s too late, I won’t have time for what I’ve been waiting for, which has only now become clear to me. What I must do is run down the mountain with my arms stretched out to either side, for balance, and throw myself in front of the Princess’s car. In front of it, or onto it, or into it. Then the Princess will tell them to stop the car. She’ll have to, in order to avoid running over me. I don’t picture myself being driven away in the royal car, I’m more realistic than that. Anyway I don’t want to leave my parents. But things will change, they will be different, something will be done.

The car with the glove is moving away, it’s turned the corner, it’s gone, and I haven’t moved.

Chapter 31

Mi ss Stuart likes art. She has us bring old shirts of our fathers from home so we can do messier art without getting our clothes dirty. While we scissor and paint and paste she walks the aisles in her nurse’s mask, looking over our shoulders. But if anyone, a boy, draws a silly picture on purpose, she holds the page up in mocking outrage. “This lad here thinks he’s being smarrut. You’ve got more between the ears than that!” And she flicks him on the ear with her thumb and fingernail. For her we make the familiar paper objects, the pumpkins, the Christmas bells, but she has us do other things too. We make complicated floral patterns with a compass, we glue odd substances to cardboard backings: feathers, sequins, pieces of macaroni garishly dyed, lengths of drinking straw. We do group murals on the blackboards or on large rolls of brown paper. We draw pictures about foreign countries: Mexico with cactuses and men in enormous hats, China with cones on the heads and seeing-eye boats, India with what we intend to be graceful, silk-draped women balancing copper urns, and jewels on their foreheads.

I like these foreign pictures because I can believe in them. I desperately need to believe that somewhere else these other, foreign people exist. No matter that at Sunday school I’ve been told such people are either starving or heathens or both. No matter that my weekly collection goes to convert them, feed them, smarten them up. Miss Lumley saw them as crafty, given to the eating of outlandish or disgusting foods and to acts of treachery against the British, but I prefer Miss Stuart’s versions, in which the sun above their heads is a cheerful yellow, the palm trees a clearg reen, the clothing they wear is floral, their folksongs gay. The women chatter together in quick incomprehensible languages, they laugh, showing perfect, pure-white teeth. If these people exist I can go there sometime. I don’t have to stay here. Today, says Miss Stuart, we are going to draw what we do after school. The others hunch over their desks. I know what they will draw: skipping ropes, jolly snowmen, listening to the radio, playing with a dog. I stare at my own paper, which remains blank. Finally I draw my bed, with myself in it. My bed has a dark wooden headboard with curlicues on it. I draw the window, the chest of drawers. I color in the night. My hand holding the black crayon presses down, harder and harder, until the picture is almost entirely black, until only a faint shadow of my bed and my head on the pillow remains to be seen.

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