The lawns are tidy, the facades are gracious, in good repair; they're like the beautiful pictures they used to print in the magazines about homes and gardens and interior decoration. There is the same absence of people, the same air of being asleep. The street is almost like a museum, or a street in a model town constructed to show the way people used to live. As in those pictures, those museums, those model towns, there are no children.
This is the heart of Gilead, where the war cannot intrude except on television. Where the edges are we aren't sure, they vary, according to the attacks and counterattacks; but this is the center, where nothing moves. The Republic of Gilead, said Aunt Lydia, knows no bounds.
Gilead is within you.
Doctors lived here once, lawyers, university professors. There are no lawyers anymore, and the university is closed.
Luke and I used to walk together, sometimes, along these streets. We used to talk about buying a house like one of these, an old big house, fixing it up. We would have a garden swing for the Children. We would have children. Although we knew it wasn't too likely we could ever afford it, it was something to talk about, a game for Sundays.
Such freedom now seems almost weightless.
We turn the corner onto a main street, where there's more traffic.
Cars go by, black most of them, some gray and brown. There are other women with baskets, some in red, some in the dull green of the Marthas, some in the striped dresses, red and blue and green and cheap and skimpy, that mark the women of the poorer men.
Econowives, they're called. These women are not divided into functions. They have to do everything; if they can. Sometimes there is a woman all in black, a widow. There used to be more of them, but they seem to be diminishing. You don't see the Commanders' Wives on the sidewalks. Only in cars.
The sidewalks here are cement. Like a child, I avoid stepping on the cracks. I'm remembering my feet on these sidewalks, in the time before, and what I used to wear on them. Sometimes it was shoes for running, with cushioned soles and breathing holes, and stars of fluorescent fabric that reflected light in the darkness. Though I never ran at night; and in the daytime, only beside well-frequented roads.
Women were not protected then.
I remember the rules, rules that were never spelled out but that every woman knew: Don't open your door to a stranger, even if he says he is the police. Make him slide his ID under the door. Don't stop on the road to help a motorist pretending to be in trouble. Keep the locks on and keep going. If anyone whistles, don't turn to look. Don't go into a laundromat, by yourself, at night.
I think about laundromats. What I wore to them: shorts, jeans, jogging pants. What I put into them: my own clothes, my own soap, my own money, money I had earned myself. I think about having such control.
Now we walk along the same street, in red pairs, and no man shouts obscenities at us, speaks to us, touches us. No one whistles.
There is more than one kind of freedom, said Aunt Lydia. Freedom to and freedom from. In the days of anarchy, it was freedom to. Now you are being given freedom from. Don't underrate it.
In front of us, to the right, is the store where we order dresses. Sonic people call them habits, a good word for them. Habits are hard to break. The store has a huge wooden sign outside it, in the shape of a golden lily; Lilies of the Field, it's called. You can see the place, under the lily, where the lettering was painted out, when they decided that even the names of shops were too much temptation for us. Now places are known by their signs alone.
Lilies used to be a movie theater, before. Students went there a lot; every spring they had a Humphrey Bogart festival, with Lauren Bacall or Katharine Hepburn, women on their own, making up their minds.
They wore blouses with buttons down the front that suggested the possibilities of the word undone. These women could be undone; or not. They seemed to be able to choose. We seemed to be able to choose, then. We were a society dying, said Aunt Lydia, of too much choice.
I don't know when they stopped having the festival. I must have been grown up. So I didn't notice.
We don't go into Lilies, but across the road and along a side street.
A group of people is coming towards us. They're tourists, from Japan it looks like, a trade delegation perhaps, on a tour of the historic landmarks or out for local color. They're diminutive and neatly turned out; each has his or her camera, his or her smile. They look around, bright-eyed, cocking their heads to one side like robins, their very cheerfulness aggressive, and I can't help staring. It's been a long time since I've seen skirts that short on women. The skirts reach just below the knee and the legs come out from beneath them, nearly naked in their thin stockings, blatant, the high-heeled shoes with their straps attached to the feet like delicate instruments of torture.
The women teeter on their spiked feet as if on stilts, but off balance; their backs arch at the waist, thrusting the buttocks out. Their heads are uncovered and their hair too is exposed, in all its darkness and sexuality. They wear lipstick, red, outlining the damp cavities of their mouths, like scrawls on a washroom wall, of the time before.
I stop walking. Ofglen stops beside me and I know that she too cannot take her eyes off these women. We are fascinated, but also repelled. They seem undressed. It has taken so little time to change our minds, about things like this.
Then I think: I used to dress like that. That was freedom.
Westernized, they used to call it.
The Japanese tourists come towards us, twittering, and we turn our heads away too late: our faces have been seen.
There's an interpreter, in the standard blue suit and red-patterned tie, with the winged-eye tie pin. He's the one who steps forward, out of the group, in front of us, blocking our way. The tourists bunch behind him; one of them raises a camera.
"Excuse me," he says to both of us, politely enough. "They're asking if they can take your picture."
I look down at the sidewalk, shake my head for no. What they must see is the white wings only, a scrap of face, my chin and part of my mouth. Not the eyes. I know better than to look the interpreter in the face. Most of the interpreters are Eyes, or so it's said.
I also know better than to say yes. Modesty is invisibility, said Aunt Lydia. Never forget it. To be seen to be seen is to be her voice trembled, penetrated. What you must be, girls, is impenetrable. She called us girls.
Beside me, Ofglen is also silent. She's tucked her red-gloved hands up into her sleeves, to hide them.
The interpreter turns back to the group, chatters at them in staccato.
I know what he'll be saying, I know the line. He'll be telling them that the women here have different customs, that to stare at them through the lens of a camera is, for them, an experience of violation.
I'm looking down, at the sidewalk, mesmerized by the women's feet.
One of them is wearing open-toed sandals, the toenails painted pink.
I remember the smell of nail polish, the way it wrinkled if you put the second coat on too soon, the satiny brushing of sheer pantyhose against the skin, the way the toes felt, pushed towards the opening in the shoe by the whole weight of the body. The woman with painted toes shifts from one foot to the other. I can feel her shoes, on my own feet. The smell of nail polish has made me hungry.
"Excuse me," says the interpreter again, to catch our attention. I nod, to show I've heard him.
"He asks, are you happy," says the interpreter. I can imagine it, their curiosity: Are they happy? How can they be happy? I can feel their bright black eyes on us, the way they lean a little forward to catch our answers, the women especially, but the men too: we are secret, forbidden, we excite them.
Ofglen says nothing. There is a silence. But sometimes it's as dangerous not to speak.
"Yes, we are very happy," I murmur. I have to say something. What else can I say?
About the book:
In the world of the near future, who will control women's bodies?
Offred is a Handmaid in the Republic of Gilead. She may leave the home of the Commander and his wife once a day to walk to food markets whose signs are now pictures instead of words because women are no longer allowed to read. She must lie on her back once a month and pray that the Commander makes her pregnant, because in an age of declining births, Offred and the other Handmaids are only valued if their ovaries are viable.
Offred can remember the days before, when she lived and made love with her husband Luke; when she played with and protected her daughter; when she had a job, money of her own, and access to knowledge. But all of that is gone now....
Funny, unexpected, horrifying, and altogether convincing, The Handmaid's Tale is at once scathing satire, dire warning, and tour de force.
Excerpt from Ghachar Ghochar
- Vivek Shanbhag
Excerpt from The Power
- Naomi Alderman