Bodily Harm Read online

  INTERNATIONAL ACCLAIM FOR

  Bodily Harm

  "Secures her place in the upper ranks of important novelists."

  - Cosmopolitan

  "An overwhelming novel ... possessing Atwood's usual ability to harness the energy of language and implication ... with remarkable insight and sensitivity."

  - Quill & Quire

  "Time and again the reader is impressed by the sheer virtuosity and skill of Atwood's writing."

  - Calgary Herald

  "Sophisticated, superbly orchestrated ..."

  - Saturday Review

  "Striking, stringent, sharp ... infused with intelligence and insight."

  - Vancouver Sun

  "Skilfully written, mordantly witty and immensely readable."

  - London Free Press

  "What makes her book so considerable an achievement is the mature, informed accuracy of its view of life. What makes it so exhilarating is the profusion of tough wit and precise poetry that everywhere transforms its black bulletins from documentary into art."

  - Times Literary Supplement

  BOOKS BY MARGARET ATWOOD

  FICTION

  The Edible Woman (1969)

  Surfacing (1972)

  Lady Oracle (1976)

  Dancing Girls (1977)

  Life Before Man (1979)

  Bodily Harm (1981)

  Murder in the Dark (1983)

  Bluebeard's Egg (1983)

  The Handmaid's Tale (1985)

  Cat's Eye (1988)

  Wilderness Tips (1991)

  Good Bones (1992)

  The Robber Bride (1993)

  Alias Grace (1996)

  The Blind Assassin (2000)

  Good Bones and Simple Murders (2001)

  Oryx and Crake (2003)

  The Penelopiad (2005)

  The Tent (2006)

  Moral Disorder (2006)

  The Year of the Flood (2009)

  FOR CHILDREN

  Up in the Tree (1978)

  Anna's Pet (with Joyce Barkhouse) (1980)

  For the Birds (1990)

  Princess Prunella and the Purple Peanut (1995)

  Rude Ramsay and the Roaring Radishes (2003)

  Bashful Bob and Doleful Dorinda (2004)

  NON-FICTION

  Survival: A Thematic Guide to Canadian Literature (1972)

  Days of the Rebels 1815-1840 (1977)

  Second Words (1982)

  Strange Things: The Malevolent North in Canadian Literature (1996)

  Negotiating with the Dead: A Writer on Writing (2002)

  Moving Targets: Writing with Intent, 1982-2004 (2004)

  Payback: Debt and the Shadow Side of Wealth (2008)

  POETRY

  Double Persephone (1961)

  The Circle Game (1966)

  The Animals in That Country (1968)

  The Journals of Susanna Moodie (1970)

  Procedures for Underground (1970)

  Power Politics (1971)

  You Are Happy (1974)

  Selected Poems (1976)

  Two-Headed Poems (1978)

  True Stories (1981)

  Interlunar (1984)

  Selected Poems II: Poems Selected and New 1976-1986 (1986)

  Morning in the Burned House (1995)

  The Door (2007)

  Copyright (c) 1981 by O.W. Toad Ltd.

  First cloth edition published in Canada by McClelland & Stewart in 1981

  Emblem edition published in 1998

  This Emblem edition published in 2010

  Emblem is an imprint of McClelland & Stewart Ltd.

  Emblem and colophon are registered trademarks of McClelland & Stewart Ltd.

  All rights reserved. The use of any part of this publication reproduced, transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, or stored in a retrieval system, without the prior written consent of the publisher - or, in case of photocopying or other reprographic copying, a licence from the Canadian Copyright Licensing Agency - is an infringement of the copyright law.

  Library and Archives Canada Cataloguing in Publication

  Atwood, Margaret, 1939-

  Bodily harm / Margaret Atwood.

  eISBN: 978-1-55199488-8

  I. Title.

  PS8501.T86B62 2010 C813'.54 C2010-902598-9

  We acknowledge the financial support of the Government of Canada through the Book Publishing Industry Development Program and that of the Government of Ontario through the Ontario Media Development Corporation's Ontario Book Initiative. We further acknowledge the support of the Canada Council for the Arts and the Ontario Arts Council for our publishing program.

  McClelland & Stewart Ltd.

  75 Sherbourne Street

  Toronto, Ontario

  M5A 2P9

  www.mcclelland.com

  v3.1

  For Jennifer Rankin, 1941-1979.

  For Graeme, James and John.

  Contents

  Cover

  Other Books by This Author

  Title Page

  Copyright

  Dedication

  Epigraph

  Chapter I

  Chapter II

  Chapter III

  Chapter IV

  Chapter V

  Chapter VI

  Acknowledgements

  About the Author

  A man's presence suggests what he is capable of doing to you or for you. By contrast, a woman's presence ... defines what can and cannot be done to her.

  John Berger, Ways of Seeing

  I

  This is how I got here, says Rennie.

  It was the day after Jake left. I walked back to the house around five. I'd been over at the market and I was carrying the shopping basket as well as my purse. There wasn't as much to carry now that Jake wasn't there any more, which was just as well because the muscles in my left shoulder were aching, I hadn't been keeping up the exercises. The trees along the street had turned and the leaves were falling onto the sidewalk, yellow and brown, and I was thinking, Well, it's not so bad, I'm still alive.

  My next-door neighbour, an old Chinese man whose name I didn't know, was tidying up his front yard. The yard in front of my house had been covered over with paving stones so you could park a car on it. That meant the street was going up rather than down, and in a few years I'd have to move; though I'd stopped thinking in years. My neighbour had pulled up the dead plants and was raking the earth into a raised oblong. In the spring he'd plant things I didn't know the names for. I remember thinking it was time I learned the names, if I was going to live there.

  I did notice the cruiser, which they'd left beside a meter like any other car, no flashing lights, but it was a few doors away so I didn't pay much attention to it. You see more police cars down there than you might farther north.

  The front door was open, which wasn't out of place on such a warm day. The downstairs neighbour, an old woman who isn't the landlady but behaves like one, has cats and likes to leave the outside door ajar so they can get in and go through the cat door. "Cat hole," Jake calls it; used to call it.

  My own door at the top of the stairs was open too. There were people inside, men, I could hear them talking, and then a laugh. I couldn't think who it could be, it wasn't Jake, but whoever it was didn't seem to care who knew they were there. The key was under the mat where I always leave it, but the edge of the doorframe was splintered, the lock was shoved right out of it. I went into the livingroom, which was still piled with the boxes of books Jake had packed but not collected. Nothing had been moved. Through the kitchen doorway I could see feet and legs, shining feet, pressed legs.

  Two policemen were sitting at the table. I had that quick rush of fear, late for school, caught on the boys' stairs, caught
out. The only thing I could think of was that they were after the pot, but there were no drawers pulled open and the tea and coffee canisters were where they should be. Then I remembered that Jake had taken the whole stash with him. Why not? It was his. Anyway, surely they'd stopped worrying about that, everyone does it now, even the police, it's almost legal.

  The younger one stood up, the older one didn't. He stayed sitting down, smiling up at me as if I'd come for a job interview.

  You Miss Wilford? he asked. He didn't wait. You're damn lucky. He had a massive head, with the hair clipped short like a punker's. His was left over though, from sometime in the fifties: no green highlights.

  Why? I said. What's the matter?

  You've got good neighbours, the younger one said. He looked like a high-school gym teacher or a Baptist, about twenty-two, earnest and severe. The one downstairs. She was the one who phoned.

  Was it a fire? I said. There was no sign of it, no smell.

  The older one laughed. The other one didn't. No, he said. She heard footsteps up here and she knew it wasn't you, she saw you go out, and she didn't hear anyone go up the stairs. He jimmied open your kitchen window.

  I put the shopping basket on the table; then I went and looked at the window, which was open about two feet. The white paint was scratched.

  You could do it with a jackknife, he said. You should get those safety locks. He heard us coming and went back out through the window.

  Did he take anything? I said.

  You'll have to tell us that, said the older one.

  The young one looked uneasy. We don't think he was a burglar, he said. He made himself a cup of Ovaltine. He was just waiting for you, I guess. There was a cup on the table, half full of something light brown. I felt sick: someone I didn't know had been in my kitchen, opening my refrigerator and my cupboards, humming to himself maybe, as if he lived there; as if he was an intimate.

  What for? I said.

  The older one stood up. He took up a lot of space in the kitchen. Take a look, he said, pleased with himself, in charge. He had a present he'd been saving up. He walked past me into the livingroom and then into the bedroom. I was glad I'd made the bed that morning: lately I hadn't always.

  There was a length of rope coiled neatly on the quilt. It wasn't any special kind of rope, there was nothing lurid about it. It was off-white and medium thick. It could have been a clothesline.

  All I could think of was a game we used to play, Detective or Clue, something like that. You had to guess three things: Mr. Green, in the conservatory, with a pipewrench; Miss Plum, in the kitchen, with a knife. Only I couldn't remember whether the name in the envelope was supposed to be the murderer's or the victim's. Miss Wilford, in the bedroom, with a rope.

  He was just waiting for you, the younger one said behind me.

  Drinking his Ovaltine, the big one said. He smiled down at me, watching my face, almost delighted, like an adult who's just said I told you so to some rash child with a skinned knee.

  So you were lucky, the younger one said. He came past me and picked up the rope, carefully, as if it had germs. I could see now that he was older than I'd thought, he had anxious puckers around the eyes.

  The big one opened the closet door, casually, as if he had every right. Two of Jake's suits were still hanging there.

  You live alone, that right? the big one said.

  I said yes.

  These your pictures? said the big one, grinning.

  No, I said. They belong to a friend of mine. The pictures were Jake's, he was supposed to take them away.

  Quite a friend, said the big one.

  He must've been watching you for a while, said the young one. He must've known when you'd get home. Any idea who it might be?

  No, I said. I wanted to sit down. I thought of asking them if they wanted a beer.

  Some nut, the big one said. If you knew what was walking around loose out there you'd never go out. You close the curtains in the bathroom when you take a shower?

  There aren't any curtains in the bathroom, I said. There aren't any windows.

  You close the curtains when you get dressed at night?

  Yes, I said.

  He'll be back, the young one said. That kind always comes back.

  The big one wouldn't let up. You have men over here a lot? Different men?

  He wanted it to be my fault, just a little, some indiscretion, some provocation. Next he would start lecturing me about locks, about living alone, about safety.

  I close the curtains, I said. I don't have men over. I turn out the lights. I get undressed by myself, in the dark.

  The big one smirked at me, he knew about single women, and suddenly I was angry. I unbuttoned my blouse and pulled my left arm out of the sleeve and dropped the slip strap over my shoulder.

  What in hell are you doing? the big one said.

  I want you to believe me, I said.

  There's a two-hour stopover in Barbados, or so they tell her. Rennie finds the women's washroom in the new Muzak-slick airport and changes from her heavy clothes to a cotton dress. She examines her face in the mirror, checking for signs. In fact she looks quite well, she looks normal. Her dress is a washed-out blue, her face isn't too pale, she wears only enough makeup so she won't seem peculiar, a leftover hippie or a Plymouth Brethren or something like that. This is the effect she aims for, neutrality; she needs it for her work, as she used to tell Jake. Invisibility.

  Take a chance, said Jake, during one of his campaigns to alter her, what was it that time? Purple satin with rhinestone spaghetti straps. Make a statement.

  Other people make statements, she said. I just write them down.

  That's a cop-out, said Jake. If you've got it, flaunt it.

  Which God knows you do, said Rennie.

  You're putting me down again, said Jake, affable, showing his teeth, flawless except for the long canines.

  You're impossible to put down, said Rennie. That's why I love you.

  In the washroom there's a blow-dryer for your hands, which claims to be a protection against disease. The instructions are in French as well as English, it's made in Canada. Rennie washes her hands and dries them under the blow-dryer. She's all in favour of protection against disease.

  She thinks about what's behind her, what she cancelled or didn't bother to cancel. As for the apartment, she just shut the door with its shiny new lock and walked out, since out was where she needed to be. It gets easier and easier, dishes in the sink for two weeks, three weeks, only a little mould on them, she hardly even feels guilty any more; one of these days it may be permanent.

  Rennie's lucky that she can manage these sidesteps, these small absences from real life; most people can't. She's not tied down, which is an advantage. It's a good thing she's versatile, and it helps to know people, in this case Keith. Keith has recently come across to Visor from Toronto Life. He's a contact of hers, which is not the same as a friend. While she was in the hospital she decided that most of her friends were really just contacts.

  I want to go somewhere warm and very far away, she said.

  Try the Courtyard Cafe, he said.

  No, seriously, said Rennie. My life is the pits right now. I need a tan.

  Want to do The Restless Caribbean? he said. So does everyone else.

  Nothing political, she said. I can do you a good Fun in the Sun, with the wine lists and the tennis courts, I know what you like.

  You finked out on the last piece I wanted you to do, said Keith. Anyway, you just came back from Mexico.

  That was last year, she said. Come on, we're old buddies. I need some time out.

  Keith sighed and then agreed, a little too quickly. Usually he haggled more. He must have heard about the operation; maybe he even knew about Jake leaving. He had that faint sick look in his eyes, as if he wanted to give her something, charity for instance. Rennie hates charity.

  It's not a total freebie, she said. It's not as if I don't produce.

  Pick an island, he said.
Only it has to be someplace we haven't done. How about this one? A friend of mine went there, sort of by mistake. He says it's off the beaten track.

  Rennie had never heard of it. Sounds great, she said. Ordinarily she would have done some homework, but she was in too much of a hurry. This time she's flying blind.

  Rennie repacks her bag, stuffing her pantyhose into an outside pocket, the one with the clock. Then she goes to the restaurant, where everything is wicker, and orders a gin and tonic. She does not look long at the distant sea, which is too blue to be believable.

  The restaurant isn't full. There are a few women alone and more in clutches, and a couple of families. There are no men by themselves. Men by themselves usually go to the bar. She knows, she's learned since Jake left, that if she spends much time gazing around the room with that slightly defiant stare adopted by women alone to indicate that they don't have to be, one of the other solitaries might join her. So instead she watches her hands and the ice cubes in her glass, which despite the air conditioning are melting almost at once.

  When she goes to the gate she's told the plane is late. Lugging her bag and her camera bag, she walks among the kiosk shops: small black hand-sewn dolls, cigarette boxes and mirrors encrusted with shells, necklaces made from the teeth of sharks, porcupine fish, inflated and dried. A miniature five-piece steel band, mounted on a slab of driftwood, in which the players are toads. Looking more closely, she sees that the toads are real ones that have been stuffed and varnished. A long time ago she would have bought this monstrosity and sent it to someone for a joke.

  Rennie is from Griswold, Ontario. Griswold is what they call her background. Though it's less like a background, a backdrop - picturesque red Victorian houses and autumn trees on a hillside in the distance - than a subground, something that can't be seen but is nevertheless there, full of gritty old rocks and buried stumps, worms and bones; nothing you'd want to go into. Those who'd lately been clamouring for roots had never seen a root up close, Rennie used to say. She had, and she'd rather be some other part of the plant.

  In an earlier phase, Rennie used to tell jokes about Griswold to amuse her friends. Such as: How many people from Griswold does it take to change a lightbulb? The whole town. One to change it, ten to snoop, and the rest of them to discuss how sinful you are for wanting more light. Or: How many people from Griswold does it take to change a lightbulb? None. If the light goes out it's the will of God, and who are you to complain?