Margaret Atwood - Cat's eye

Chapter 6

I don’t know who took that picture of me. It must have been my brother, because my mother is inside the cabin, behind the white door, wearing gray slacks and a dark-blue plaid shirt, packing our food into cardboard boxes and our clothes into suitcases. She has a system for packing; she talks to herself while she’s doing it, reminding herself of details, and she likes us out of the way. Right after the picture it begins to snow, small dry flakes falling singly out of the hard northern November sky. There’s a kind of hush and lassitude until that first snow, with the light waning and the last moose-maple leaves dangling from the branches like seaweed. We felt sleepy until it began to snow. Now we feel exhilarated.

We’re running around outside the motel, wearing nothing but our worn-out summer shoes, with our bare hands outstretched to the falling snowflakes, our heads thrown back, our mouths open, eating snow. If it were thick on the ground we would roll in it, like dogs in dirt. It fills us with the same kind of rapture. But our mother looks out the window and sees us, and the snow, and makes us come inside and dry our feet off with the skimpy towels. We have no winter boots that fit. While we’re inside, the snow turns to sleet. Our father is pacing the floor, jingling his keys in his pocket. He always wants things to happen sooner than they do, and now he wants to leave right away, but my mother says he’ll have to hold his horses. We go outside and help him scrape the crust of ice off the car windows and then we carry boxes, and finally we squeeze into the car ourselves and drive south. I know it’s south because of the direction of the sunlight, which is coming weakly through the clouds now, touching the icy trees with glitter, glaring off the ice patches at the sides of the road, making it hard to see.

Our parents say we’re going to our new house. This time the house will be really ours, not rented. It’s in a city called Toronto. This name means nothing to me. I think about the house in my school reader, white, with a picket fence and a lawn, and window curtains. I want to see what my bedroom will be like. By the time we arrive at the house it’s late afternoon. At first I think there must be some mistake; but no, this is the house all right, because my father is already opening the door with a key. The house is hardly on a street at all, more like a field. It’s square-shaped, a bungalow, built of yellow brick and surrounded by raw mud. On one side of it is an enormous hole in the ground, with large mud piles heaped around it. The road in front is muddy too, unpaved, potholed. There are some concrete blocks sunk in the mud for stepping-stones so we can get to the door.

Inside, things are even more daunting. There are doors and windows, true, and walls, and the furnace works. There’s a picture window in the living room, though the view is of a large expanse of rippling mud. The toilet actually flushes, though it has a yellowish-brown ring around the inside of the bowl and several floating cigarette butts; and reddish, warmish water comes from the hot water tap when I turn it on. But the floors are not polished wood or even linoleum. They’re made of wide, rough boards with cracks in between, gray with plaster dust and scattered with white speckles, like bird droppings. Only a few of the rooms have light fixtures; the others have wires dangling out of the middle of the ceiling. There are no counters in the kitchen, only the bare sink; there’s no stove. Nothing is painted. Dust is on everything: the windows, the window ledges, the fixtures, the floor. There are a lot of dead flies around.

“We all have to pitch in,” says our mother, which means that we are not to complain. We will have to do the best we can, she says. We will have to finish the house ourselves, because the man who was supposed to do it has gone bankrupt. Flown the coop, is how she puts it. Our father is not so cheerful. He paces around the house, peering and prodding at it, muttering to himself and making small whistling noises. “Son of a gun, son of a gun,” is what he says.

From somewhere in the depths of the car our mother unearths a primus stove, which she sets up on the kitchen floor, since there is no table. She begins to heat up some pea soup. My brother goes outside; I know he’s climbing up the mountain of dirt next door, or assessing the possibilities of the large hole in the ground, but I don’t have the heart to join him.

I wash my hands in the reddish water in the bathroom. There’s a crack in the sink, which at this moment seems a disaster, worse than any of the other flaws and absences. I look at my face in the dust-smeared mirror. There’s no shade on the light, just a bare bulb overhead, which makes my face look pallid and ill, with circles under the eyes. I rub my eyes; I know it would be wrong to be seen crying. Despite its rawness, the house feels too hot, maybe because I’m still wearing my outside clothes. I feel trapped. I want to be back in the motel, back on the road, in my old rootless life of impermanence and safety. The first nights we sleep on the floor, in our sleeping bags, on top of our air mattresses. Then some army surplus cots appear, canvas stretched across a metal frame smaller at the base than at the top, so that if you roll over in the night you tip off onto the floor and the cot falls on top of you. Night after night I fall out and wake up lying on the rough dusty floor wondering where I am, and my brother is not there to snicker at me or order me to shut up, because I’m in a room by myself. At first I found the thought of my own room exciting—an empty space to be arranged as I wanted, without regard to Stephen and his strewn clothes and wooden guns—but now I’m lonely. I’ve never been in a room by myself at night before.

Each day new things appear in the house while we’re at school: a stove, a refrigerator, a card table and four chairs, so that we can eat in the ordinary way, sitting at a table, instead of cross-legged on a groundsheet spread in front of the fireplace. The fireplace actually works; this is one part of the house that has been finished. In it we burn scrap pieces of wood left over from the construction. In his spare time our father hammers away at the interior of the house. Floor coverings spread across the floors: narrow hardwood boards in the living room, asphalt tiles in our bedrooms, advancing row by row. The house begins to look more like a house. But this takes a lot longer than I would like: we are a far cry from picket fences and white curtains, here in our lagoon of postwar mud.

Chapter 7

W e’re used to seeing our father in windbreakers, battered gray felt hats, flannel shirts with the cuffs tightly buttoned to keep the blackflies from crawling up his arms, heavy pants tucked into the tops of woolen work socks. Except for the felt hats, what our mother wore wasn’t all that different. Now, however, our father wears jackets and ties and white shirts, and a tweed overcoat and a scarf. He has galoshes that buckle on over his shoes instead of leather boots waterproofed with bacon grease. Our mother’s legs have appeared, sheathed in nylons with seams up the backs. She draws on a lipstick mouth when she goes out. She has a coat with a gray fur collar, and a hat with a feather in it that makes her nose look too long. Every time she puts on this hat, she looks into the mirror and says, “I look like the Witch of Endor.”

Our father has changed his job: this explains things. Instead of being a forest-insect field researcher, he is now a university professor. The smelly jars and collecting bottles that once were everywhere have diminished in number. Instead, scattered around the house, there are stacks of drawings made by his students with colored pencils. All of them are of insects. There are grasshoppers, spruce budworms, forest tent caterpillars, wood-boring beetles, each one the size of a page, their parts neatly labeled: mandibles, palps, antennae, thorax, abdomen. Some of them are in section, which means they’re cut open so you can see what’s inside them: tunnels, branches, bulbs and delicate filaments. I like this kind the best.