This is conspiracy.

"Thank you," he says. "For the game." Then he says, "I want you to kiss me."

I think about how I could take the back of the toilet apart, the toilet in my own bathroom, on a bath night, quickly and quietly, so Cora outside on the chair would not hear me. I could get the sharp lever out and hide it in my sleeve, and smuggle it into the Commander's study, the next time, because after a request like that there's always a next time, whether you say yes or no. I think about how I could approach the Commander, to kiss him, here alone, and take off his jacket, as if to allow or invite something further, some approach to true love, and put my arms around him and slip the lever out from the sleeve and drive the sharp end into him suddenly, between his ribs. I think about the blood coming out of him, hot as soup, sexual, over my hands.

In fact I don't think about anything of the kind. I put it in only afterwards. Maybe I should have thought about that, at the time, but I didn't. As I said, this is a reconstruction.

"All right," I say. I go to him and place my lips, closed, against his. I smell the shaving lotion, the usual kind, the hint of mothballs, familiar enough to me. But he's like someone I've only just met.

He draws away, looks down at me. There's the smile again, the sheepish one. Such candor. "Not like that," he says. "As if you meant it."

He was so sad.

That is a reconstruction, too.

IX Night

24

I go back, along the dimmed hall and up the muffled stairs, stealthily to my room. There I sit in the chair, with the lights off, in my red dress, hooked and buttoned. You can think clearly only with your clothes on.

What I need is perspective. The illusion of depth, created by a frame, the arrangement of shapes on a flat surface. Perspective is necessary. Otherwise there are only two dimensions. Otherwise you live with your face squashed against a wall, everything a huge foreground, of details, close-ups, hairs, the weave of the bedsheet, the molecules of the face. Your own skin like a map, a diagram of futility, crisscrossed with tiny roads that lead nowhere. Otherwise you live in the moment. Which is not where I want to be.

But that's where I am, there's no escaping it. Time's a trap, I'm caught in it. I must forget about my secret name and all ways back. My name is Offred now, and here is where I live.

Live in the present, make the most of it, it's all you've got.

Time to take stock.

I am thirty-three years old. I have brown hair. I stand five seven without shoes. I have trouble remembering what I used lo look like. I have viable ovaries. I have one more chance.

But something has changed, now, tonight.Cicumstances have altered.

I can ask for something. Possibly not much; but something.

Men are sex machines, said Aunt Lydia, and not much more. They only want one thing. You must learn to manipulate them, for your own good. Lead them around by the nose; that is a metaphor. It's nature's way. It's God's device. It's the way things are.

Aunt Lydia did not actually say this, but it was implicit in everything she did say. It hovered over her head, like the golden mottoes over the saints, of the darker ages. Like them too, she was angular and without flesh.

But how to fit the Commander into this, as he exists in his study, with his word games and his desire, for what? To be played with, to be gently kissed, as if I meant it.

I know I need to take it seriously, this desire of his. It could be important, it could be a passport, it could be my downfall. I need to be earnest about it, I need to ponder it. But no matter what I do, sitting here in the dark, with the searchlights illuminating the oblong of my window, from outside, through the curtains gauzy as a bridal dress, as ectoplasm, one of my hands holding the other, rocking back and forth a little, no matter what I do there's something hilarious about it.

He wanted me to play Scrabble with him, and kiss him as if I meant it.

This is one of the most bizarre things that's happened to me, ever.

Context is all.

I remember a television program I once saw; a rerun, made years before. I must have been seven or eight, too young to understand it. It was the sort of thing my mother liked to watch: historical, educational. She tried to explain it to me afterwards, to tell me that the things in it had really happened, but to me it was only a story. I thought someone had made it up. I suppose all children think that, about any history before their own. If it's only a story, it becomes less frightening.

The program was a documentary, about one of those wars. They interviewed people and showed clips from films of the time, black and white, and still photos. I don't remember much about it, but I remember the quality of the pictures, the way everything in them seemed to be coated with a mixture of sunlight and dust, and how dark the shadows were under people's eyebrows and along their cheekbones.

The/interviews with people still alive then were in color. The one I remember best was with a woman who had been the mistress of a man who had supervised one of the camps where they put the Jews, before they killed them. In ovens, my mother said; but there weren't any pictures of the ovens, so I got some confused notion that these deaths had taken place in kitchens. There is something especially terrifying to a child in that idea. Ovens mean cooking, and cooking comes before eating. I thought these people had been eaten. Which in a way I suppose they had been.

From what they said, the man had been cruel and brutal. The mistress-my mother explained mistress, she did not believe in mystification, I had a pop-up book of sexual organs by the time I was four-the mistress had once been very beautiful. There was a black-and-white shot of her and another woman, in the two-piece bathing suits and platform shoes and picture hats of the time; they were wearing cat's-eye sunglasses and sitting in deck chairs by a swimming pool. The swimming pool was beside their house, which was near the camp with the ovens. The woman said she didn't notice much that she found unusual. She denied knowing about the ovens.

At the time of the interview, forty or fifty years later, she was dying of emphysema. She coughed a lot, and she was very thin, almost emaciated; but she still took pride in her appearance. (Look at that, said my mother, half grudgingly, half admiringly. She still takes pride in her appearance.) She was carefully made up, heavy mascara on her eyelashes, rouge on the bones of her cheeks, over which the skin was stretched like a rubber glove pulled tight. She was wearing pearls.

He was not a monster, she said. People say he was a monster, but he was not one.

What could she have been thinking about? Not much, I guess; not back then, not at the time. She was thinking about how not to think. The times were abnormal. She took pride in her appearance. She did not believe he was a monster. Hw was not a monster, to her. Probably he had some endearing trait: he whistled, offkey, in the shower, he had a yen for truffles, he called his dog Liebchen and made it sit up for little pieces of raw steak. How easy it is to invent a humanity, for anyone at all. What an available temptation. A big child, she would have said to herself. Her heart would have melted, she'd have smoothed the hair back from his forehead, kissed him on the ear, and not just to get something out of him either. The instinct to soothe, to make it better. There there, she'd say, as he woke from a nightmare. Things are so hard for you. All this she would have believed, because otherwise how could she have kept on living? She was very ordinary, under that beauty. She believed 't't in decency, she was nice to the Jewish maid, or nice enough, nicer than she needed to be.