Surfacing by Margaret Atwood Read Free Book Online Page A

them lined up on the counter. I’m fond of him, I’d rather have him around than not; though it would be nice if he meant something more to me. The fact that he doesn’t makes me sad: no one has since my husband. A divorce is like an amputation, you survive but there’s less of you.
    I lie for a while with my eyes open. This used to be my room; Anna and David are in the one with the map, this one has the pictures. Ladies in exotic costumes, sausage rolls of hair across their foreheads, with puffed red mouths and eyelashes like toothbrush bristles: when I was ten I believed in glamour, it was a kind of religion and these were my icons. Their arms and legs are constrained in fashion-model poses, one gloved hand on the hip, one foot stuck out in front. They’re wearing shoes with Petunia Pig toes and perpendicular heels, and their dresses have cantaloupe strapless tops like Rita Hayworth’s and ballerina skirts with blotches meant for spangles. I didn’t draw very well then, there’s something wrong with the proportions, the necks are too short and the shoulders are enormous. I must have been imitating the paper dolls they had in the city, cardboard movie stars, Jane Powell, Esther Williams, with two-piece bathing suits printed on their bodies and cutout wardrobes of formal gowns and lacy negligées. Little girls in grey jumpers and white blouses, braids clipped to their heads with pink plastic barrettes, owned and directed them; they would bring them to school and parade them at recess, propping them up against the worn brick wall, feet in the snow, paper dresses no protection against the icy wind, inventing for them dances and parties, celebrations, interminable changing of costumes, a slavery of pleasure.
    Below the pictures at the foot of the bed there’s a grey leather jacket hanging on a nail. It’s dirty and the leather is cracked and peeling. I see it for a while before I recognize it: it belonged to my mother a long time ago, she kept sunflower seeds in the pockets. I thought she’d thrown it out; it shouldn’t still be here, he should have got rid of it after the funeral. Dead people’s clothes ought to be buried with them.
    I turn over and shove Joe further against the wall so I can curl up.
    I surface again later; Joe is wide awake now, he’s come out from under the sheet. “You talked in your sleep again,” I tell him. Sometimes I think he says more when he’s asleep than he does when he’s awake.
    He gives a noncommittal growl. “I’m hungry.” Then, after a pause, “What did I say?”
    “The usual. You wanted to know where you were and who I was.” I’d like to hear about the dream itself; I used to have dreams but I don’t any longer.
    “That’s pretty boring,” he says. “Was that all?”
    I throw back the covers and lower my feet to the floor, a minor ordeal: even in midsummer here the nights are cold. I get dressed as fast as possible and go out to start the fire. Anna is there, still in her sleeveless nylon nightgown and bare feet, standing in front of the wavery yellowish mirror. There’s a zippered case on the counter in front of her, she’s putting on makeup. I realize I’ve never seen her without it before; shorn of the pink cheeks and heightened eyes her face is curiously battered, a worn doll’s, her artificial face is the natural one. The backs of her arms have goose pimples.
    “You don’t need that here,” I say, “there’s no one to look at you.” My mother’s phrase, used to me once when I was fourteen; she was watching, dismayed, as I covered my mouth with Tango Tangerine. I told her I was just practising.
    Anna says in a low voice, “He doesn’t like to see me without it,” and then, contradicting herself, “He doesn’t know I wear it.” I glimpse the subterfuge this must involve, or is it devotion: does she have to sneak out of the bed before he’s awake every morning and into it at night with the lights out? Maybe David is telling generous lies; but