But who gives it? And to whom is it given? Certainly it doesn't feel like giving, which implies a flow, a gentle handing over, no coercion. But there is scant gentleness here, it's too strenuous, the belly like a knotted fist, squeezing, the heavy trudge of the heart, every muscle in the body tight and moving, as in a slow motion shot of a high-jump, the faceless body sailing up, turning, hanging for a moment in the air, and then—back to real time again—the plunge, the rush down, the result. Maybe the phrase was made by someone viewing the result only: in this case, the rows of babies to whom birth has occurred, lying like neat packages in their expertly wrapped blankets, pink or blue, with their labels scotch-taped to their clear plastic cots, behind the plate-glass window.
No one ever says giving death, although they are in some ways the same, events, not things. And delivering, that act the doctor is generally believed to perform: who delivers what? Is it the mother who is delivered, like a prisoner being released? Surely not; nor is the child delivered to the mother like a letter through a slot. How can you be both the sender and the receiver at once? Was someone in bondage, is someone made free? Thus language, muttering in its archaic tongues of something, yet one more thing, that needs to be re-named.
It won't be by me, though. These are the only words I have, I'm stuck with them, stuck in them. (That image of the tar sands, old tableau in the Royal Ontario Museum, second floor north, how persistent it is. Will I break free, or will I be sucked down, fossilized, a sabre-toothed tiger or lumbering brontosaurus who ventured out too far? Words ripple at my feet, black, sluggish, lethal. Let me try once more, before the sun gets me, before I starve or drown, while I can. It's only a tableau after all, it's only a metaphor. See, I can speak, I am not trapped, and you on your part can understand. So we will go ahead as if there were no problem about language.)
This story about giving birth is not about me. In order to convince you of that I should tell you what I did this morning, before I sat down at this desk—a door on top of two filing cabinets, radio to the left, calendar to the right, these devices by which I place myself in time. I got up at twenty-to-seven, and, halfway down the stairs, met my daughter, who was ascending, autonomously she thought, actually in the arms of her father. We greeted each other with hugs and smiles; we then played with the alarm clock and the hot water bottle, a ritual we go through only on the days her father has to leave the house early to drive into the city. This ritual exists to give me the illusion that I am sleeping in. When she finally decided it was time for me to get up, she began pulling my hair. I got dressed while she explored the bathroom scales and the mysterious white altar of the toilet. I took her downstairs and we had the usual struggle over her clothes. Already she is wearing miniature jeans, miniature T-shirts. After this she fed herself: orange, banana, muffin, porridge.
We then went out to the sunporch, where we recognized anew, and by their names, the dog, the cats and the birds, bluejays and goldfinches at this time of year, which is winter. She puts her fingers on my lips as I pronounce these words; she hasn't yet learned the secret of making them. I am waiting for her first word: surely it will be miraculous, something that has never yet been said. But if so, perhaps she's already said it and I, in my entrapment, my addiction to the usual, have not heard it.
In her playpen I discovered the first alarming thing of the day. It was a small naked woman, made of that soft plastic from which jiggly spiders and lizards and the other things people hang in their car windows are also made. She was given to my daughter by a friend, a woman who does props for movies, she was supposed to have been a prop but she wasn't used. The baby loved her and would crawl around the floor holding her in her mouth like a dog carrying a bone, with the head sticking out one side and the feet out the other. She seemed chewy and harmless, but the other day I noticed that the baby had managed to make a tear in the body with her new teeth. I put the woman into the cardboard box I use for toy storage.
But this morning she was back in the playpen and the feet were gone. The baby must have eaten them, and I worried about whether or not the plastic would dissolve in her stomach, whether it was toxic. Sooner or later, in the contents of her diaper, which I examine with the usual amount of maternal brooding, I knew I would find two small pink plastic feet. I removed the doll and later, while she was still singing to the dog outside the window, dropped it into the garbage. I am not up to finding tiny female arms, breasts, a head, in my daughter's disposable diapers, partially covered by undigested carrots and the husks of raisins, like the relics of some gruesome and demented murder.
Now she's having her nap and I am writing this story.
From what I have said, you can see that my life (despite these occasional surprises, reminders of another world) is calm and orderly, suffused with that warm, reddish light, those well-placed blue highlights and reflecting surfaces (mirrors, plates, oblong window panes) you think of as belonging to Dutch genre paintings; and like them it is realistic in detail and slightly sentimental. Or at least it has an aura of sentiment. (Already I'm having moments of muted grief over those of my daughter's baby clothes which are too small for her to wear any more. I will be a keeper of hair, I will store things in trunks, I will weep over photos.) But above all it's solid, everything here has solidity. No more of those washes of light, those shifts, nebulous effects of cloud, Turner sunsets, vague fears, the impalpables Jeannie used to concern herself with.
I call this woman Jeannie after the song. I can't remember any more of the song, only the title. The point (for in language there are always these "points," these reflections; this is what makes it so rich and sticky, this is why so many have disappeared beneath its dark and shining surface, why you should never try to see your own reflection in it; you will lean over too far, a strand of your hair will fall in and come out gold, and, thinking it is gold all the way down, you yourself will follow, sliding into those outstretched arms, towards the mouth you think is opening to pronounce your name but instead, just before your ears fill with pure sound, will form a word you have never heard before...)
The point, for me, is in the hair. My own hair is not light brown, but Jeannie's was. This is one difference between us. The other point is the dreaming, for Jeannie isn't real in the same way that I am real. But by now, and I mean your time, both of us will have the same degree of reality, we will be equal: wraiths, echoes, reverberations in your own brain. At the moment though Jeannie is to me as I will some day be to you. So she is real enough.
Jeannie is on her way to the hospital, to give birth, to be delivered. She is not quibbling over these terms. She's sitting in the back seat of the car, with her eyes closed and her coat spread over her like a blanket. She is doing her breathing exercises and timing her contractions with a stopwatch. She has been up since two-thirty in the morning, when she took a bath and ate some lime Jell-O, and it's now almost ten. She has learned to count, during the slow breathing, in numbers (from one to ten while breathing in, from ten to one while breathing out) which she can actually see while she is silently pronouncing them. Each number is a different colour and, if she's concentrating very hard, a different typeface. They range from plain Roman to ornamented circus numbers, red with gold filigree and dots. This is a refinement not mentioned in any of the numerous books she's read on the subject. Jeannie is a devotee of handbooks. She has at least two shelves of books that cover everything from building kitchen cabinets to auto repairs to smoking your own hams. She doesn't do many of these things, but she does some of them, and in her suitcase, along with a washcloth, a package of lemon lifesavers, a pair of glasses, a hot water bottle, some talcum powder and a paper bag, is the book that suggested she take along all of these things.
(By this time you may be thinking that I've invented Jeannie in order to distance myself from these experiences. Nothing could be further from the truth. I am, in fact, trying to bring myself closer to something that time has already made distant. As for Jeannie, my intention is simple: I am bringing her back to life.)
There are two other people in the car with Jeannie. One is a man, whom I will call A., for convenience. A. is driving. When Jeannie opens her eyes, at the end of every contraction, she can see the back of his slightly balding head and his reassuring shoulders. A. drives well and not too quickly. From time to time he asks her how she is, and she tells him how long the contractions are lasting and how long there is between them. When they stop for gas he buys them each a styrofoam container of coffee. For months he has helped her with the breathing exercises, pressing on her knee as recommended by the book, and he will be present at the delivery. (Perhaps it's to him that the birth will be given, in the same sense that one gives a performance.) Together they have toured the hospital maternity ward, in company with a small group of other pairs like them: one thin solicitous person, one slow bulbous person. They have been shown the rooms, shared and private, the sitz-baths, the delivery room itself, which gave the impression of being white. The nurse was light-brown, with limber hips and elbows; she laughed a lot as she answered questions.
"First they'll give you an enema. You know what it is? They take a tube of water and put it up your behind. Now, the gentlemen must put on this—and these, over your shoes. And these hats, this one for those with long hair, this for those with short hair."
"What about those with no hair?" says A.
The nurse looks up at his head and laughs. "Oh, you still have some," she said. "If you have a question, do not be afraid to ask."
They have also seen the film made by the hospital, a full-colour film of a woman giving birth to, can it be a baby? "Not all babies will be this large at birth," the Australian nurse who introduces the movie says. Still, the audience, half of which is pregnant, doesn't look very relaxed when the lights go on. ("If you don't like the visuals," a friend of Jeannie's has told her, "you can always close your eyes.") It isn't the blood so much as the brownish-red disinfectant that bothers her. "I've decided to call this whole thing off," she says to A., smiling to show it's a joke. He gives her a hug and says, "Everything's going to be fine."
And she knows it is. Everything will be fine. But there is another woman in the car. She's sitting in the front seat, and she hasn't turned or acknowledged Jeannie in any way. She, like Jeannie, is going to the hospital. She too is pregnant. She is not going to the hospital to give birth, however, because the word, the words, are too alien to her experience, the experience she is about to have, to be used about it at all. She's wearing a cloth coat with checks in maroon and brown, and she has a kerchief tied over her hair. Jeannie has seen her before, but she knows little about her except that she is a woman who did not wish to become pregnant, who did not choose to divide herself like this, who did not choose any of these ordeals, these initiations. It would be no use telling her that everything is going to be fine. The word in English for unwanted intercourse is rape, but there is no word in the language for what is about to happen to this woman.
Jeannie has seen this woman from time to time throughout her pregnancy, always in the same coat, always with the same kerchief. Naturally, being pregnant herself has made her more aware of other pregnant women, and she has watched them, examined them covertly, every time she has seen one. But not every other pregnant woman is this woman. She did not, for instance, attend Jeannie's pre-natal classes at the hospital, where the women were all young, younger than Jeannie.
"How many will be breast-feeding?" asks the Australian nurse with the hefty shoulders.
All hands but one shoot up. A modern group, the new generation, and the one lone bottle-feeder, who might have (who knows?) something wrong with her breasts, is ashamed of herself. The others look politely away from her. What they want most to discuss, it seems, are the differences between one kind of disposable diaper and another. Sometimes they lie on mats and squeeze each other's hands, simulating contractions and counting breaths. It's all very hopeful. The Australian nurse tells them not to get in and out of the bathtub by themselves. At the end of an hour they are each given a glass of apple juice.
There is only one woman in the class who has already given birth. She's there, she says, to make sure they give her a shot this time. They delayed it last time and she went through hell. The others look at her with mild disapproval. They are not clamouring for shots, they do not intend to go through hell. Hell comes from the wrong attitude, they feel. The books talk about discomfort.
"It's not discomfort, it's pain, baby," the woman says.
The others smile uneasily and the conversation slides back to disposable diapers.
Vitaminized, conscientious, well-read Jeannie, who has managed to avoid morning sickness, varicose veins, stretch marks, toxemia and depression, who has had no aberrations of appetite, no blurrings of vision—why is she followed, then, by this other? At first it was only a glimpse now and then, at the infants' clothing section in Simpson's Basement, in the supermarket lineup, on streetcorners as she herself slid by in A.'s car: the haggard face, the bloated torso, the kerchief holding back the too-sparse hair. In any case, it was Jeannie who saw her, not the other way around. If she knew she was following Jeannie she gave no sign.
As Jeannie has come closer and closer to this day, the unknown day on which she will give birth, as time has thickened around her so that it has become something she must propel herself through, a kind of slush, wet earth underfoot, she has seen this woman more and more often, though always from a distance. Depending on the light, she has appeared by turns as a young girl of perhaps twenty to an older woman of forty or forty-five, but there was never any doubt in Jeannie's mind that it was the same woman. In fact it did not occur to her that the woman was not real in the usual sense (and perhaps she was, originally, on the first or second sighting, as the voice that causes an echo is real), until A. stopped for a red light during this drive to the hospital and the woman, who had been standing on the corner with a brown paper bag in her arms, simply opened the front door of the car and got in. A. didn't react, and Jeannie knows better than to say anything to him. She is aware that the woman is not really there: Jeannie is not crazy. She could even make the woman disappear by opening her eyes wider, by staring, but it is only the shape that would go away, not the feeling. Jeannie isn't exactly afraid of this woman. She is afraid for her.
When they reach the hospital, the woman gets out of the car and is through the door by the time A. has come around to help Jeannie out of the back seat. In the lobby she is nowhere to be seen. Jeannie goes through Admission in the usual way, unshadowed.
There has been an epidemic of babies during the night and the maternity ward is overcrowded. Jeannie waits for her room behind a dividing screen. Nearby someone is screaming, screaming and mumbling between screams in what sounds like a foreign language. Portuguese, Jeannie thinks. She tells herself that for them it is different, you're supposed to scream, you're regarded as queer if you don't scream, it's a required part of giving birth. Nevertheless she knows that the woman screaming is the other woman and she is screaming from pain. Jeannie listens to the other voice, also a woman's, comforting, reassuring: her mother? A nurse?
A. arrives and they sit uneasily, listening to the screams. Finally Jeannie is sent for and she goes for her prep. Prep school, she thinks. She takes off her clothes—when will she see them again?—and puts on the hospital gown. She is examined, labelled around the wrist, and given an enema. She tells the nurse she can't take Demerol because she's allergic to it, and the nurse writes this down. Jeannie doesn't know whether this is true or not but she doesn't want Demerol, she has read the books. She intends to put up a struggle over her pubic hair—surely she will lose her strength if it is all shaved off—but it turns out the nurse doesn't have very strong feelings about it. She is told her contractions are not far enough along to be taken seriously, she can even have lunch. She puts on her dressing gown and rejoins A., in the freshly vacated room, eats some tomato soup and a veal cutlet, and decides to take a nap while A. goes out for supplies.
Jeannie wakes up when A. comes back. He has brought a paper, some detective novels for Jeannie, and a bottle of Scotch for himself. A. reads the paper and drinks Scotch, and Jeannie reads Poirot's Early Cases. There is no connection between Poirot and her labour, which is now intensifying, unless it is the egg-shape of Poirot's head and the vegetable marrows he is known to cultivate with strands of wet wool (placentae? umbilical cords?). She is glad the stories are short; she is walking around the room now, between contractions. Lunch was definitely a mistake.
"I think I have back labour," she says to A. They get out the handbook and look up the instructions for this. It's useful that everything has a name. Jeannie kneels on the bed and rests her forehead on her arms while A. rubs her back. A. pours himself another Scotch, in the hospital glass. The nurse, in pink, comes, looks, asks about the timing, and goes away again. Jeannie is beginning to sweat. She can only manage half a page or so of Poirot before she has to clamber back up on the bed again and begin breathing and running through the coloured numbers.
When the nurse comes back, she has a wheelchair. It's time to go down to the labour room, she says. Jeannie feels stupid sitting in the wheelchair. She tells herself about peasant women having babies in the fields, Indian women having them on portages with hardly a second thought. She feels effete. But the hospital wants her to ride, and considering the fact that the nurse is tiny, perhaps it's just as well. What if Jeannie were to collapse, after all? After all her courageous talk. An image of the tiny pink nurse, antlike, trundling large Jeannie through the corridors, rolling her along like a heavy beachball.
As they go by the check-in desk a woman is wheeled past on a table, covered by a sheet. Her eyes are closed and there's a bottle feeding into her arm through a tube. Something is wrong. Jeannie looks back—she thinks it was the other woman—but the sheeted table is hidden now behind the counter.
In the dim labour room Jeannie takes off her dressing gown and is helped up onto the bed by the nurse. A. brings her suitcase, which is not a suitcase actually but a small flight bag; the significance of this has not been lost on Jeannie, and in fact she now has some of the apprehensive feelings she associates with planes, including the fear of a crash. She takes out her Lifesavers, her glasses, her washcloth and the other things she thinks she will need. She removes her contact lenses and places them in their case, reminding A. that they must not be lost. Now she is purblind.
There is something else in her bag that she doesn't remove. It's a talisman, given to her several years ago as a souvenir by a travelling friend of hers. It's a rounded oblong of opaque blue glass, with four yellow and white eye shapes on it. In Turkey, her friend has told her, they hang them on mules to protect against the Evil Eye. Jeannie knows this talisman probably won't work for her, she is not Turkish and she isn't a mule, but it makes her feel safer to have it in the room with her. She had planned to hold it in her hand during the most difficult part of labour but somehow there is no longer any time for carrying out plans like this.
An old woman, a fat old woman dressed all in green, comes into the room and sits beside Jeannie. She says to A., who is sitting on the other side of Jeannie, "That is a good watch. They don't make watches like that any more." She is referring to his gold pocket watch, one of his few extravagances, which is on the night table. Then she places her hand on Jeannie's belly to feel the contraction. "This is good," she says; her accent is Swedish or German. "This, I call a contraction. Before, it was nothing." Jeannie can no longer remember having seen her before. "Good. Good."
"When will I have it?" Jeannie asks, when she can talk, when she is no longer counting.
The old woman laughs. Surely that laugh, those tribal hands, have presided over a thousand beds, a thousand kitchen tables... "A long time yet," she says. "Eight, ten hours."
"But I've been doing this for twelve hours already," Jeannie says.
"Not hard labour," the woman says. "Not good, like this."
Jeannie settles into herself for the long wait. At the moment she can't remember why she wanted to have a baby in the first place. That decision was made by someone else, whose motives are now unclear. She remembers the way women who had babies used to smile at one another, mysteriously, as if there was something they knew that she didn't, the way they would casually exclude her from their frame of reference. What was the knowledge, the mystery, or was having a baby really no more inexplicable than having a car accident or an orgasm? (But these too were indescribable, events of the body, all of them; why should the mind distress itself trying to find a language for them?) She has sworn she will never do that to any woman without children, engage in those passwords and exclusions. She's old enough, she's been put through enough years of it to find it tiresome and cruel.
But—and this is the part of Jeannie that goes with the talisman hidden in her bag, not with the part that longs to build kitchen cabinets and smoke hams—she is, secretly, hoping for a mystery. Something more than this, something else, a vision. After all she is risking her life, though it's not too likely she will die. Still, some women do. Internal bleeding, shock, heart failure, a mistake on the part of someone, a nurse, a doctor. She deserves a vision, she deserves to be allowed to bring something back with her from this dark place into which she is now rapidly descending.
She thinks momentarily about the other woman. Her motives, too, are unclear. Why doesn't she want to have a baby? Has she been raped, does she have ten other children, is she starving? Why hasn't she had an abortion? Jeannie doesn't know, and in fact it no longer matters why. Uncross your fingers, Jeannie thinks to her. Her face, distorted with pain and terror, floats briefly behind Jeannie's eyes before it too drifts away.
Jeannie tries to reach down to the baby, as she has many times before, sending waves of love, colour, music, down through her arteries to it, but she finds she can no longer do this. She can no longer feel the baby as a baby, its arms and legs poking, kicking, turning. It has collected itself together, it's a hard sphere, it does not have time right now to listen to her. She's grateful for this because she isn't sure anyway how good the message would be. She no longer has control of the numbers either, she can no longer see them, although she continues mechanically to count. She realizes she has practised for the wrong thing, A. squeezing her knee was nothing, she should have practised for this, whatever it is.
"Slow down," A. says. She's on her side now, he's holding her hand. "Slow it right down."
"I can't, I can't do it, I can't do this."
"Yes you can."
"Will I sound like that?"
"Like what?" A. says. Perhaps he can't hear it: it's the other woman, in the room next door or the room next door to that. She's screaming and crying, screaming and crying. While she cries she is saying, over and over, "It hurts. It hurts."
"No, you won't," he says. So there is someone, after all.
A doctor comes in, not her own doctor. They want her to turn over on her back.
"I can't," she says. "I don't like it that way." Sounds have receded, she has trouble hearing them. She turns over and the doctor gropes with her rubber-gloved hand. Something wet and hot flows over her thighs.
"It was just ready to break," the doctor says. "All I had to do was touch it. Four centimetres," she says to A.
"Only four?" Jeannie says. She feels cheated; they must be wrong. The doctor says her own doctor will be called in time. Jeannie is outraged at them. They have not understood, but it's too late to say this and she slips back into the dark place, which is not hell, which is more like being inside, trying to get out. Out, she says or thinks. Then she is floating, the numbers are gone, if anyone told her to get up, go out of the room, stand on her head, she would do it. From minute to minute she comes up again, grabs for air.
"You're hyperventilating," A. says. "Slow it down." He is rubbing her back now, hard, and she takes his hand and shoves it viciously farther down, to the right place, which is not the right place as soon as his hand is there. She remembers a story she read once, about the Nazis tying the legs of Jewish women together during labour. She never really understood before how that could kill you.
A nurse appears with a needle. "I don't want it," Jeannie says.
"Don't be hard on yourself," the nurse says. "You don't have to go through pain like that." What pain? Jeannie thinks. When there is no pain she feels nothing, when there is pain, she feels nothing because there is no she. This, finally, is the disappearance of language. You don't remember afterwards, she has been told by almost everyone.
Jeannie comes out of a contraction, gropes for control. "Will it hurt the baby?" she says.
"It's a mild analgesic," the doctor says. "We wouldn't allow anything that would hurt the baby." Jeannie doesn't believe this. Nevertheless she is jabbed, and the doctor is right, it is very mild, because it doesn't seem to do a thing for Jeannie, though A. later tells her she has slept briefly between contractions.
Suddenly she sits bolt upright. She is wide awake and lucid. "You have to ring that bell right now," she says. "This baby is being born."
A. clearly doesn't believe her. "I can feel it, I can feel the head," she says. A. pushes the button for the call bell. A nurse appears and checks, and now everything is happening too soon, nobody is ready. They set off down the hall, the nurse wheeling. Jeannie feels fine. She watches the corridors, the edges of everything shadowy because she doesn't have her glasses on. She hopes A. will remember to bring them. They pass another doctor.
"Need me?" she asks.
"Oh no," the nurse answers breezily. "Natural childbirth."
Jeannie realizes that this woman must have been the anaesthetist. "What?" she says, but it's too late now, they are in the room itself, all those glossy surfaces, tubular strange apparatus like a science fiction movie, and the nurse is telling her to get onto the delivery table. No one else is in the room.
"You must be crazy," Jeannie says.
"Don't push," the nurse says.
"What do you mean?" Jeannie says. This is absurd. Why should she wait, why should the baby wait for them because they're late?
"Breathe through your mouth," the nurse says. "Pant," and Jeannie finally remembers how. When the contraction is over she uses the nurse's arm as a lever and hauls herself across onto the table.
From somewhere her own doctor materializes, in her doctor suit already, looking even more like Mary Poppins than usual, and Jeannie says, "Bet you weren't expecting to see me so soon!" The baby is being born when Jeannie said it would, though just three days ago the doctor said it would be at least another week, and this makes Jeannie feel jubilant and smug. Not that she knew, she'd believed the doctor.
She's being covered with a green tablecloth, they are taking far too long, she feels like pushing the baby out now, before they are ready. A. is there by her head, swathed in robes, hats, masks. He has forgotten her glasses. "Push now," the doctor says. Jeannie grips with her hands, grits her teeth, face, her whole body together, a snarl, a fierce smile, the baby is enormous, a stone, a boulder, her bones unlock, and, once, twice, the third time, she opens like a birdcage turning slowly inside out.
A pause; a wet kitten slithers between her legs. "Why don't you look?" says the doctor, but Jeannie still has her eyes closed. No glasses, she couldn't have seen a thing anyway. "Why don't you look?" the doctor says again.
Jeannie opens her eyes. She can see the baby, who has been wheeled up beside her and is fading already from the alarming birth purple. A good baby, she thinks, meaning it as the old woman did: a good watch, well-made, substantial. The baby isn't crying; she squints in the new light. Birth isn't something that has been given to her, nor has she taken it. It was just something that has happened so they could greet each other like this. The nurse is stringing beads for her name. When the baby is bundled and tucked beside Jeannie, she goes to sleep.
As for the vision, there wasn't one. Jeannie is conscious of no special knowledge; already she's forgetting what it was like. She's tired and very cold; she is shaking, and asks for another blanket. A. comes back to the room with her; her clothes are still there. Everything is quiet, the other woman is no longer screaming. Something has happened to her, Jeannie knows. Is she dead? Is the baby dead? Perhaps she is one of those casualties (and how can Jeannie herself be sure, yet, that she will not be among them) who will go into postpartum depression and never come out. "You see, there was nothing to be afraid of," A. says before he leaves, but he was wrong.
The next morning Jeannie wakes up when it's light. She's been warned about getting out of bed the first time without the help of a nurse, but she decides to do it anyway (peasant in the field! Indian on the portage!). She's still running on adrenalin; she's also weaker than she thought, but she wants very much to look out the window. She feels she's been inside too long, she wants to see the sun come up. Being awake this early always makes her feel a little unreal, a little insubstantial, as if she's partly transparent, partly dead.
(It was to me, after all, that the birth was given, Jeannie gave it, I am the result. What would she make of me? Would she be pleased?)
The window is two panes with a Venetian blind sandwiched between them; it turns by a knob at the side. Jeannie has never seen a window like this before. She closes and opens the blind several times. Then she leaves it open and looks out.
All she can see from the window is a building. It's an old stone building, heavy and Victorian, with a copper roof oxidized to green. It's solid, hard, darkened by soot, dour, leaden. But as she looks at this building, so old and seemingly immutable, she sees that it's made of water. Water, and some tenuous jellylike substance. Light flows through it from behind (the sun is coming up), the building is so thin, so fragile, that it quivers in the slight dawn wind. Jeannie sees that if the building is this way (a touch could destroy it, a ripple of the earth, why has no one noticed, guarded it against accidents?) then the rest of the world must be like this too, the entire earth, the rocks, people, trees, everything needs to be protected, cared for, tended. The enormity of this task defeats her; she will never be up to it, and what will happen then?
Jeannie hears footsteps in the hall outside her door. She thinks it must be the other woman, in her brown and maroon checked coat, carrying her paper bag, leaving the hospital now that her job is done. She has seen Jeannie safely through, she must go now to hunt through the streets of the city for her next case. But the door opens, it's only a nurse, who is just in time to catch Jeannie as she sinks to the floor, holding on to the edge of the air-conditioning unit. The nurse scolds her for getting up too soon.
After that the baby is carried in, solid, substantial, packed together like an apple. Jeannie examines her, she is complete, and in the days that follow Jeannie herself becomes drifted over with new words, her hair slowly darkens, she ceases to be what she was and is replaced, gradually, by someone else.
ABOUT THE AUTHOR
Margaret Atwood has published over thirty books, including novels, poetry, and literary criticism; they have been published in more than twenty-five countries and have been translated into more than twenty languages. Her most recent novels are Cat's Eye and The Robber Bride, both bestsellers. The Handmaid's Tale, also a bestseller, was made into a major motion picture. She lives in Toronto with novelist Graeme Gibson and their daughter, Jess.