The Penelopiad. Margaret Atwood
husband. What a fool he made of me, some say. It was a specialty of his: making fools. He got away with everything, which was another of his specialties: getting away.
He was always so plausible. Many people have believed that his version of events was the true one, give or take a few murders, a few beautiful seductresses, a few one-eyed monsters. Even I believed him, from time to time. I knew he was tricky and a liar, I just didn’t think he would play his tricks and try out his lies on me. Hadn’t I been faithful? Hadn’t I waited, and waited, and waited, despite the temptation—almost the compulsion—to do otherwise? And what did I amount to, once the official version gained ground? An edifying legend. A stick used to beat other women with. Why couldn’t they be as considerate, as trustworthy, as all-suffering as I had been? That was the line they took, the singers, the yarn-spinners. Don’t follow my example, I want to scream in your ears—yes, yours! But when I try to scream, I sound like an owl.
Of course I had inklings, about his slipperiness, his wiliness, his foxiness, his—how can I put this?—his unscrupulousness, but I turned a blind eye. I kept my mouth shut; or, if I opened it, I sang his praises. I didn’t contradict, I didn’t ask awkward questions, I didn’t dig deep. I wanted happy endings in those days, and happy endings are best achieved by keeping the right doors locked and going to sleep during the rampages.
But after the main events were over and things had become less legendary, I realised how many people were laughing at me behind my back—how they were jeering, making jokes about me, jokes both clean and dirty; how they were turning me into a story, or into several stories, though not the kind of stories I’d prefer to hear about myself. What can a woman do when scandalous gossip travels the world? If she defends herself she sounds guilty. So I waited some more.
Now that all the others have run out of air, it’s my turn to do a little story-making. I owe it to myself. I’ve had to work myself up to it: it’s a low art, tale-telling. Old women go in for it, strolling beggars, blind singers, maidservants, children - folks with time on their hands. Once, people would have laughed if I’d tried to play the minstrel—there’s nothing more preposterous than an aristocrat fumbling around with the arts—but who cares about public opinion now? The opinion of the people down here: the opinion of shadows, of echoes. So I’ll spin a thread of my own.
The difficulty is that I have no mouth through which I can speak. I can’t make myself understood, not in your world, the world of bodies, of tongues and fingers; and most of the time I have no listeners, not on your side of the river. Those of you who may catch the odd whisper, the odd squeak, so easily mistake my words for breezes rustling the dry reeds, for bats at twilight, for bad dreams.
But I’ve always been of a determined nature. Patient, they used to call me. I like to see a thing through to the end.
ii
The Chorus Line: A Rope-Jumping Rhyme
we are the maids
the ones you killed
the ones you failed
we danced in air
our bare feet twitched
it was not fair
with every goddess, queen, and bitch
from there to here
you scratched your itch
we did much less
than what you did
you judged us bad
you had the spear
you had the word
at your command
we scrubbed the blood
of our dead
paramours from floors, from chairs
from stairs, from doors,
we knelt in water
while you stared
at our bare feet
it was not fair
you licked our fear
it gave you pleasure
you raised your hand
you watched us fall
we danced on air
the ones you failed
the ones you killed
iii
My Childhood
Where shall I begin? There are only two choices: at the beginning or not at the beginning. The real beginning would be the beginning of the world, after which one thing has led to another; but since there are differences of opinion about that, I’ll begin with my own birth.
My father was King Icarius of Sparta. My mother was a Naiad. Daughters of Naiads were a dime a dozen in those days; the place was crawling with them. Nevertheless, it never hurts to be of semi-divine birth. Or it never hurts immediately.
When I was quite young my father ordered me to be thrown into the sea. I never knew exactly why, during my lifetime, but now I suspect he’d been told by an oracle that I would weave his shroud. Possibly he thought that if he killed me first, his shroud would never be woven and he would live forever. I can see how the reasoning might have gone. In that case, his wish to drown me came from an understandable desire to protect himself. But he must have misheard, or else the oracle herself misheard—the gods often mumble—because it was not his shroud that was at issue, but my father-in-law’s shroud. If that was the prophecy it was a true one, and indeed the weaving of this particular shroud proved a great convenience to me later on in my life.
The teaching of crafts to girls has fallen out of fashion now, I understand, but luckily it had not in my day. It’s always an advantage to have something to do with your hands. That way, if someone makes an inappropriate remark, you can pretend you haven’t heard it. Then you don’t have to answer.
But perhaps this shroud-weaving oracle idea of mine is baseless. Perhaps I have only invented it in order to make myself feel better. So much whispering goes on, in the dark caverns, in the meadows, that sometimes it’s hard to know whether the whispering is coming from others or from the inside of your own head. I use head figuratively. We have dispensed with heads as such, down here.
No matter—into the sea I was thrown. Do I remember the waves closing over me, do I remember the breath leaving my lungs and the sound of bells people say the drowning hear? Not in the least. But I was told the story: there is always some servant or slave or old nurse or busybody ready to regale a child with the awful things done to it by its parents when it was too young to remember. Hearing this discouraging anecdote did not improve my relations with my father. It is to this episode—or rather, to my knowledge of it—that I attribute my reserve, as well as my mistrust of other people’s intentions.
It was stupid of Icarius to try to drown the daughter of a Naiad, however. Water is our element, it is our birthright. Although we are not such good swimmers as our mothers, we do have a way of floating, and we’re well connected among the fish and seabirds. A flock of purple-striped ducks came to my rescue and towed me ashore. After an omen like that, what could my father do? He took me back, and renamed me—duck was my new nickname. No doubt he felt guilty about what he’d almost done: he became, if anything, rather too affectionate towards me.
I found this affection difficult to reciprocate. You can imagine. There I would be, strolling hand in hand with my apparently fond male parent along a cliff edge or a river bank or a parapet, and the thought would occur to me that he might suddenly decide to shove me over or bash me to death with a rock. Preserving a calm façade under these circumstances was a challenge. After such excursions I would retire to my room and dissolve in floods of tears. (Excessive weeping, I might as well tell you now, is a handicap of the Naiad-born. I spent at least a quarter of my earthly life crying my eyes out. Fortunately in my time there were veils. They were a practical help for disguising red, puffy eyes.)
My mother, like all Naiads, was beautiful, but chilly at heart. She had waving