Correction Paroles The Handmaid’s Tale - Chapter 17 par Margaret Atwood

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This is what I do when I'm back in my room:
I take off my clothes and put on my nightgown.
I look for the pat of butter, in the toe of my right shoe, where I hid it after dinner. The cupboard was too warm, the butter is semi-liquid. Much of it has sunk into the paper napkin I wrapped it in. Now I'll have butter in my shoe. Not the first time, because whenever there is butter or even margarine, I save some in this way. I can get most of the butter off the shoe lining, with a washcloth or somе toilet paper from the bathroom, tomorrow.
I rub thе butter over my face, work it into the skin of my hands. There's no longer any hand lotion or face cream, not for us. Such things are considered vanities. We are containers, it's only the insides of our bodies that are important. The outside can become hard and wrinkled, for all they care, like the shell of a nut. This was a decree of the Wives, this absence of hand lotion. They don't want us to look attractive. For them, things are bad enough as it is.
The butter is a trick I learned at the Rachel and Leah Center. The Red Center, we called it, because there was so much red. My predecessor in this room, my friend with the freckles and the good laugh, must have done this too, this buttering. We all do it.
As long as we do this, butter our skin to keep it soft, we can believe that we will some day get out, that we will be touched again, in love or desire. We have ceremonies of our own, private ones.
The butter is greasy and it will go rancid and I will smell like an old cheese; but at least it's organic, as they used to say.
To such devices have we descended.

Buttered, I lie on my single bed, flat, like a piece of toast. I can't sleep. In the semidark I stare up at the blind plaster eye in the middle of the ceiling, which stares back down at me, even though it can't see. There's no breeze, my white curtains are like gauze bandages, hanging limp, glimmering in the aura cast by the searchlight that illuminates this house at night, or is there a moon?
I fold back the sheet, get carefully up, on silent bare feet, in my nightgown, go to the window, like a child, I want to see. The moon on the breast of the new-fallen snow. The sky is clear but hard to make out, because of the searchlight; but yes, in the obscured sky a moon does float, newly, a wishing moon, a sliver of ancient rock, a goddess, a wink. The moon is a stone and the sky is full of deadly hardware, but oh god, how beautiful anyway.
I want Luke here so badly. I want to be held and told my name. I want to be valued, in ways that I am not; I want to be more than valuable. I
repeat my former name, remind myself of what I once could do, how others saw me.
I want to steal something.

In the hall the night-light's on, the long space glows gently pink; I walk, one foot set carefully down, then the other, without creaking, along the runner, as if on a forest floor, sneaking, my heart quick, through the night house. I am out of place. This is entirely illegal.
Down past the fisheye on the hall wall, I can see my white shape, of tented body, hair down my back like a mane, my eyes gleaming. I like this. I am doing something, on my own. The active, is it a tense? Tensed. What I would like to steal is a knife, from the kitchen, but I'm not ready for that.
I reach the sitting room, door's ajar, slip in, leave the door a little open. A squeak of wood, but who's near enough to hear? I stand in the room, letting the pupils of my eyes dilate, like a cat's or owl's.
Old perfume, cloth dust fill my nostrils. There's a slight mist of light, coming through the cracks around the closed drapes, from the searchlight outside, where two men doubtless patrol, I've seen them, from above, from behind my curtains, dark shapes, cutouts.
Now I can see outlines, gleams: from the mirror, the bases of the lamps, the vases, the sofa looming like a cloud at dusk.
What should I take? Something that will not be missed. In the wood at midnight, a magic flower. A withered daffodil, not one from the dried arrangement. The daffodils will soon be thrown out, they're beginning to smell. Along with Serena's stale fumes, the stench of her knitting.
I grope, find an end table, feel. There's a clink, I must have knocked something. I find the daffodils, crisp at the edges where they've dried, limp towards the stems, use my fingers to pinch. I will press this, somewhere. Under the mattress. Leave it there, for the next woman, the one who comes after me, to find. But there's someone in the room, behind me. I hear the step, quiet as mine, the creaking of the same floorboard. The door closes behind me, with a little click, cutting the light. I freeze: white was a mistake. I'm snow in moonlight, even in the dark.
Then a whisper: "Don't scream. It's all right." As if I'd scream, as if it's all right. I turn: a shape, that's all, dull glint of cheekbone, devoid of color.
He steps towards me. Nick. "What are you doing in here?"
I don't answer. He too is illegal, here, with me, he can't give me away. Nor I him; for the moment we're mirrors. He puts his hand on my arm,
pulls me against him, his mouth on mine, what else comes from such denial? Without a word. Both of us shaking, how I'd like to. In Serena's parlor, with the dried flowers, on the Chinese carpet, his thin body. A man entirely unknown. It would be like shouting, it would be like shooting someone.
My hand goes down, how about that, I could unbutton, and then. But it's too dangerous, he knows it, we push each other away, not far. Too much trust, too much risk, too much already.
"Iwas coming to find you," he says, breathes, almost into my ear. I want to reach up, taste his skin, he makes me hungry. His fingers move, feeling my arm under the nightgown sleeve, as if his hand won't listen to reason. It's so good, to be touched by someone, to be felt so greedily, to feel so greedy. Luke, you'd know, you'd understand. It's you here, in another body.
Bullsh*t.
"Why?" I say. Is it so bad, for him, that he'd take the risk of coming to my room at night? I think of the hanged men, hooked on the Wall. I can hardly stand up. I have to get away, back to the stairs, before I dissolve entirely. His hand's on my shoulder now, held still, heavy, pressing down on me like warm lead. Is this what I would die for? I'm a coward, I hate the thought of pain.
"He told me to," Nick says. "He wants to see you. In his office."
"What do you mean?" I say. The Commander, it must be. See me? What does he mean by see? Hasn't he had enough of me?
"Tomorrow," he says, just audible. In the dark parlor we move away from each other, slowly, as if pulled towards each other by a force, current, pulled apart also by hands equally strong.
I find the door, turn the knob, fingers on cool porcelain, open. It's all I can do.

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