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Iris's health continues to worsen, and she increasingly relies on Myra for help around the house. She also admits to her doctor that she is having trouble sleeping because of her dreams. He prescribes sleeping pills, but she continues to have nightmares involving her past. At one point, she dreams that she has woken up and gone to her window, only to see the chestnut tree that stood outside her house with Richard. She notices a man hunting through the garbage cans, and calls after him as he leaves. In the dream, this wakes up Richard, who crosses over to the window and prepares "to put his hand on [Iris's] neck" (396).
Iris's memoir returns to the spring of 1936, when she says her life began to unravel. Winifred continues to treat Iris as a slightly slow "protégée," Richard prepares to enter politics, and Laura continues to shun Richard (370). Laura also winds up being expelled from school after skipping classes and writing an essay entitled "Does God Lie?" (374). Not long after, the entire family goes on the maiden voyage of the Queen Mary, and then to Avilion for the summer. While there, Iris learns that Callie was arrested on suspicion of being involved with Communist groups, and that Richard bailed her out of jail. At around this time, Richard takes Laura out sailing on the Water Nixie and (we will later learn) uses threats to Alex's safety to coerce her into sleeping with him. In the aftermath of this, Iris notices that the dynamic between Richard and Laura has "reversed," and that Richard was behaving "almost as if he was afraid of her" (394).
While her lover is away, the woman searches for copies of his stories in drugstores and train stations. She finds one with a title referencing both Zycron and the Lizard Men of Xenor, and eagerly begins to read it. To her disappointment, however, the plot is different; although still set in Sakiel-Norn, the story makes few references to the mute girl, and none at all to the blind assassin. She continues to hold out hope that the next installment of the story will set things right, but it never appears. She goes through the motions of life in a daze, consoling herself by "imagin[ing] him imagining her" and fantasizing about meeting him at the train station. Meanwhile, a 1937 newspaper article announces the birth of Iris and Richard's daughter, Aimee Adelia, while another details the deteriorating condition in Civil War-era Spain. Finally, a letter from the "BellaVista Sanctuary" informs Richard that "the condition of [his] young sister-in-law, Miss Laura Chase, has not improved; if anything it has worsened somewhat. The delusions from which she suffers are well entrenched" (405). The director of the facility says he plans to use electro-shock therapy on Lauraand advises Iris and Richard against visiting.
As Iris's health declines, she spends more time napping and watching daytime talk shows: "I relish these grubby little sins, these squalid family tangles, these cherished traumas" (448). She does, however, take a walk to a doughnut shop she frequents, largely because she likes to read the graffiti in the bathroom.
Continuing her story, Iris explainshow Laura persuades Richard to allow her to drop out of school. She begins volunteering at a hospital while Winifred schemes to marry her off. Iris notices that Laura is behaving differently: "brittle, insouciant, reckless in a new way,"but is too distracted by her own pregnancy to pay much attention (425).
When Iris is seven months' pregnant, Winifred and Richard tell her that Laura had a mental breakdown, threatening self-harm and accusing Richard of being "a lying, treacherous slave-trader, and a degenerate Mammon-worshipping monster" (429). As a result, Richard has had her committed to BellaVista. Laura also claimed to be pregnant, which Winifred ascribes to jealousy of Iris. In fact, Laura was pregnant (by Richard) and was sent away for an abortion. Iris, however, does not know this at the time, although she struggles to believe in Laura's sudden insanity.
Not long after this, Iris gives birth to Aimee, explaining away the baby's dark hair (a sign of her true parentage) as an inheritance from the Chase side of her family. At this point, Iris's narration briefly skips forward to explain what happened to Aimee. The early loss of Laura and Richard, combined with Winifred's and Iris's battles for custody, took a toll on Aimee; as an adult, she became addicted to drugs and had multiple affairs. The last time Iris saw her, Aimee was furious and claimed that Laura and Alex were her real parents. Aimee died only a few weeks later, and Winifred took custody of her daughter, Sabrina.
Back in the main narrative thread, Iris worries about Laura as weeks go by with no direct contact:
Laura was doing well, I was told: she was making progress. Then she was not doing so well, she'd had a relapse. Progress in what, a relapse in what? It should not be gone into, it would disturb me, it was important for me to conserve my energies, as a young mother should do(440).
Eventually, however, Iris hears that Laura has managed to free herself thanks to the efforts of a lawyer Reenie provided. Iris meets with Reenie, who explains that Laura has gone into hiding after her ordeal. When pressed for details, Reenie claims it's better for Iris not to know, but that Laura left her a message somewhere Iris would think to look for it. Irisgoes through her wedding album, where Laura has tinted two of the photos: "Richard's face had been painted grey, such a dark grey that the features were all but obliterated. The hands were red, as were the flames that shot up from around and somehow from inside the head, as if the skull itself were burning" (451).
Given the links the novel has established between the personal and public worlds, it makes sense that Iris ties the events leading up to World War II with the catastrophes that mark her private life. Richard's continued sympathy for Fascist Spain and Germany is the public side of the brutality with which he treats women. In addition to raping Laura, Richard appears to take sadistic pleasure in hurting Iris during sex: "[s]ometimes—increasingly, as time went by—there were bruises, purple, then blue, then yellow. It was remarkable how easily I bruised, said Richard, smiling" (371). His abuse also recalls the story of the Peach Women, lending further credence to the idea that Iris recognizes herself in them; she describes the bruises as a "kind of code" that is "written on" her body, alluding to the ways in which others' expectations shape and transform her (371).
Back in the present, meanwhile, Iris's deteriorating psychological health echoes the darkening tone of the story she is telling. Her nightmares center on figures and images from her past—Alex and Laura in particular—and are part of a broader pattern of repetition in the novel. The chapter entitled "The Man with his head on fire," for instance, ostensibly involves a memory of Norval Chase dressing up as Santa Clausand inadvertently frightening Laura. It hearkens back, however, to a picture book Iris had as a girl that depicted "a leaping man covered in flames—wings of fire coming from his heels and shoulders, little fiery horns sprouting from his head" (82). It also foreshadows the passage where Iris finds the wedding photo that Laura has tinted. This cyclical recurrence of images underscores Atwood's depiction of history as a kind of endless loop, with Richard's treatment of Laura and Iris reenacting Norval's treatment of Liliana.
The nightmares that Iris has been experiencing in the narrative present also lay the groundwork for Books Ten and Eleven's deeper consideration of madness, a topic that adds further nuance to the theme of the boundaries between the self and others. Although Laura's commitment to an insane asylum turns out to be unjustified, it is plausible at the time because she is so consistently out of step with the world around her. It is therefore easy for Iris to imagine that Laura has finally become trapped inside her own inner world—or, as she puts it, "a painful fantasy of her own making" (440). However, the novel also suggests that insanity can result from boundaries that are too porous. When the nameless woman's lover leaves, she feels "unhinged," which she describes as a state in which "things make their way out of you that should be kept inside, and other things get in that ought to be shut out" (401–402). This description of feeling invaded by the outside world calls to mind the intrusive memories that disturb Iris's sleep as an old woman, as well as other forms of bodily or psychological violation (for instance, Richard's sexual abuse). Since Iris is by nature a guarded and secretive person, it makes sense that she would find this breakdown of barriers distressing, even though she herself has helped set it in motion by writing first the novel and then the memoir.



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