Who Do You Think You Are

treachery is the other side of dailiness.
    At the first, or maybe the second, crack of pain, she draws back. She will not accept it. She runs around the room, she tries to get to the doors. Her father blocks her off. Not an ounce of courage or of stoicism in her, it would seem. She runs, she screams, she implores. Her father is after her, cracking the belt at her when he can, then abandoning it and using his hands. Bang over the ear, then bang over the other ear. Back and forth, her head ringing. Bang in the face. Up against the wall and bang in the face again. He shakes her and hits her against the wall, he kicks her legs. She is incoherent, insane, shrieking. Forgive me! Oh please, forgive me!
    Flo is shrieking too. Stop, stop!
    Not yet. He throws Rose down. Or perhaps she throws herself down. He kicks her legs again. She has given up on words but is letting out a noise, the sort of noise that makes Flo cry, Oh, what if people can hear her? The very last-ditch willing sound of humiliation and defeat it is, for it seems Rose must play her part in this with the same grossness, the same exaggeration, that her father displays, playing his. She plays his victim with a self-indulgence that arouses, and maybe hopes to arouse, his final, sickened contempt.
    They will give this anything that is necessary, it seems, they will go to any lengths.
    Not quite. He has never managed to really injure her, though there are times, of course, when she prays that he will. He hits her with an open hand, there is some restraint in his kicks.
    Now he stops, he is out of breath. He allows Flo to move in, he grabs Rose up and gives her a push in Flo’s direction, making a sound of disgust. Flo retrieves her, opens the stair door, shoves her up the stairs.
    “Go on up to your room now! Hurry!”
    Rose goes up the stairs, stumbling, letting herself stumble, letting herself fall against the steps. She doesn’t bang her door because a gesture like that could still bring him after her, and anyway, she is weak. She lies on the bed. She can hear through the stovepipe hole Flo snuffling and remonstrating, her father saying angrily that Flo should have kept quiet then, if she did not want Rose punished she should not have recommended it. Flo says she never recommended a hiding like that.
    They argue back and forth on this. Flo’s frightened voice is growing stronger, getting its confidence back. By stages, by arguing, they are being drawn back into themselves. Soon it’s only Flo talking; he will not talk any more. Rose has had to fight down her noisy sobbing, so as to listen to them, and when she loses interest in listening, and wants to sob some more, she finds she can’t work herself up to it. She has passed into a state of calm, in which outrage is perceived as complete and final. In this state events and possibilities take on a lovely simplicity. Choices are mercifully clear. The words that come to mind are not the quibbling, seldom the conditional. Never is a word to which the right is suddenly established. She will never speak to them, she will never look at them with anything but loathing, she will never forgive them. She will punish them; she will finish them. Encased in these finalities, and in her bodily pain, she floats in curious comfort, beyond herself, beyond responsibility.
    Suppose she dies now? Suppose she commits suicide? Suppose she runs away? Any of these things would be appropriate. It is only a matter of choosing, of figuring out the way. She floats in her pure superior state as if kindly drugged.
    And just as there is a moment, when you are drugged, in which you feel perfectly safe, sure, unreachable, and then without warning and right next to it a moment in which you know the whole protection has fatally cracked, though it is still pretending to hold soundly together, so there is a moment now—the moment, in fact, when Rose hears Flo step on the stairs—that contains for her both present peace and freedom and a sure knowledge of the whole down-spiraling course of events from now on.
    Flo comes into the room without knocking, but with a hesitation that shows it might have occurred to her. She brings a jar of cold cream. Rose is hanging on to advantage as long as she can, lying face down on the bed, refusing to acknowledge or answer.
    “Oh come on,” Flo says uneasily. “You aren’t so bad off, are you? You put some of this on and you’ll feel better.”
    She is bluffing. She doesn’t know for sure what damage