The Age of Lead
Margaret Atwood
The man has been buried for a hundred and fifty years. They dug a hole in the frozen gravel, deep into the permafrost, and put him down there so the wolves couldn't get to him. Or that is the speculation.
When they dug the hole the permafrost was exposed to the air, which was warmer. This made the permafrost melt. But it froze again after the man was covered up, so that when he was brought to the surface he was completely enclosed in ice. They took the lid off the coffin and it was like those maraschino cherries you used to freeze in ice-cube trays for fancy tropical drinks: a vague shape, looming through a solid cloud.
Then they melted the ice and he came to light. He is almost the same as when he was buried. The freezing water has pushed his lips away from his teeth into an astonished snarl, and he's a beige colour, like a gravy stain on linen, instead of pink, but everything is still there. He even has eyeballs, except that they aren't white but the light brown of milky tea. With these tea-stained eyes he regards Jane: an indecipherable gaze, innocent, ferocious, amazed, but contemplative, like a werewolf meditating, caught in a flash of lightning at the exact split-second of his tumultuous change.

Jane doesn't watch very much television. She used to watch it more. She used to watch comedy series, in the evenings, and when she was a student at university she would watch afternoon soaps about hospitals and rich people, as a way of procrastinating. For a while, not so long ago, she would watch the evening news, taking in the disasters with her feet tucked up on the chesterfield, a throw rug over her legs, drinking a hot milk and rum to relax before bed. It was all a form of escape.
But what you can see on the television, at whatever time of day, is edging too close to her own life; though in her life, nothing stays put in those tidy compartments, comedy here, seedy romance and sentimental tears there, accidents and violent deaths in thirty-second clips they call bites, as if they are chocolate bars. In her life, everything is mixed together. Laugh, I thought I'd die, Vincent used to say, a very long time ago, in a voice imitating the banality of mothers; and that's how it's getting to be. So when she flicks on the television these days, she flicks it off again soon enough. Even the commercials, with their surreal dailiness, are beginning to look sinister, to suggest meanings behind themselves, behind their facade of cleanliness, lusciousness, health, power and speed.
Tonight she leaves the television on, because, what she is seeing is so unlike what she usually sees. There is nothing sinister behind this image of the frozen man. It is entirely itself. What you see is what you gets, as Vincent also used to say, crossing his eyes, baring his teeth at one side, pushing his nose into a horror-movie snout. Although it never was, with him.

The man they've dug up and melted was a young man. Or still is: it's difficult to know what tense should be applied to him, he is so insistently present. Despite the distortions caused by the ice and the emaciation of his illness, you can see his youthfulness, the absence of toughening, of wear. According to the dates painted carefully onto his name-plate, he was only twenty years old. His name was John Torrington. He was, or is, a sailor, a seaman. He wasn't an able-bodied seaman though; he was a petty officer, one of those marginally in command. Being in command has little to do with the ableness of the body.
He was one of the first to die. That is why he got a coffin and a metal name-plate, and a deep hole in the permafrost - because they still had the energy, and the piety, for such things, that early. There would have been a burial service read over him, and prayers. As time went on and became nebulous and things did not get better, they must have kept the energy for themselves; and also the prayers. The prayers would have ceased to be routine and become desperate, and then hopeless. The later dead ones got cairns of piled stones, and the much later ones not even that. They ended up as bones, and as the soles of boots and the occasional button, sprinkled over the frozen stony treeless relentless ground in a trail heading south. It was like the trails in fairy tales, of breadcrumbs or seeds or white stones. But in this case nothing had sprouted or lit up in the moonlight, forming a miraculous pathway to life; no rescuers had followed. It took ten years before anyone knew even the barest beginnings of what had been happening to them.
All of them together were the Franklin Expedition. Jane has seldom paid much attention to history except when it has overlapped with her knowledge of antique furniture and real estate- '19th C. pine harvest table', or 'prime location Georgian centre hall, impeccable reno' - but she knows what the Franklin Expedition was. The two ships with their bad-luck names have been on stamps - the Terror, the Erebus. Also she took it in school, along with a lot of other doomed expeditions. Not many of those explorers seemed to have come out of it very well. They were always getting scurvy or lost.
What the Franklin Expedition was looking for was the North­west Passage, an open seaway across the top of the Arctic, so people, merchants, could get to India from England without going all the way around South America. They wanted to go that way because it would cost less, and increase their profits. This was much less exotic than Marco Polo or the headwaters of the Nile; nevertheless, the idea of exploration appealed to her then: to get onto a boat and just go somewhere, somewhere mapless, off into the unknown. To launch yourself into fright; to find things out. There was something daring and noble about it, despite all of the losses and failures, or perhaps because of them. It was like having sex in high school, in those days before the Pill, even if you took precautions. If you were a girl, that is. If you were a boy, for whom such a risk was fairly minimal, you had to do other things: things with weapons or large amounts of alcohol, or high-speed vehicles, which at her suburban Toronto high school, back then at the beginning of the sixties, meant switchblades, beer, and drag races down the main streets on Saturday nights.
Now, gazing at the television as the lozenge of ice gradually melts and the outline of the young sailor's body clears and sharpens, Jane remembers Vincent, sixteen and with-more hair then, quirking one eyebrow and lifting his lip in a mock sneer and saying, 'Franklin, my dear, I don't give a damn.' He said it loud enough to be heard, but the history teacher ignored him, not knowing what else to do. It was hard for the teachers to keep Vincent in line, because he never seemed to be afraid of anything that might happen to him.
He was hollow-eyed even then; he frequently looked as if he'd been up all night. Even then he resembled a very young old man, or else a dissipated child. The dark circles under his eyes were the ancient part, but when he smiled he had lovely small white teeth, like the magazine ads for baby foods. He made fun of everything, and was adored. He wasn't adored the way other boys were adored, those boys with surly lower lips and greased hair and a studied air of smouldering menace. He was adored like a pet. Not a dog, but a cat. He went where he liked, and nobody owned him. Nobody called him Vince.
Strangely enough, Jane's mother approved of him. She didn't usually approve of the boys Jane went out with. Maybe she approved of him because it was obvious to her that no bad results would follow from Jane's going out with him; no heartaches, no heaviness, nothing burdensome. None of what she called consequences. Consequences: the weightiness of the body, the growing flesh hauled around like a bundle, the tiny frill-framed goblin head in the carriage. Babies and marriage, in that order. This was how she understood men and their furtive, fumbling, threatening desires, because Jane herself had been a consequence. She had been a mistake, she had been a war baby. She had been a crime that had needed to be paid for, over and over.
By the time she was sixteen, Jane had heard enough about this to last her several lifetimes. In her mother's account of the way things were, you were young briefly and then you fell. You plummeted downwards like a ripe apple and hit the ground with a squash; you fell, and everything about you fell too. You got fallen arches and a fallen womb, and your hair and teeth fell out. That's what having a baby did to you. It subjected you to the force of gravity.
This is how she remembers her mother, still: in terms of a pendulous, drooping, wilting motion. Her sagging breasts, the downturned lines around her mouth. Jane conjures her up: there she is, as usual, sitting at the kitchen table with a cup of cooling tea, exhausted after her job clerking at Eaton's department store, standing upright all day behind the jewellery counter with her bum stuffed into a girdle, and her swelling feet crammed into the mandatory medium-heeled shoes, smiling her envious, disapproving smile at the spoiled customers who turned up their noses at pieces of glittering junk she herself could never afford to buy. Jane's mother, sighs, picks at the canned spaghetti Jane has heated up for her. Silent words wait out of her like stale talcum powder: What can you expect, always a statement, never a question. Jane tries at this distance for pity, but comes up with none.
As for Jane's father, he'd run away from home when Jane was five, leaving her mother in the lurch. That's what her mother called it - 'running away from home', as if he'd been an irresponsible child. Money arrived from time to time, but that was the sum total of his contribution to family life. Jane resented him for it, but she didn't blame him. Her mother inspired in almost everyone who encountered her a vicious desire for escape.
Jane and Vincent would sit out in the cramped backyard of Jane's house, which was one of the squinty-windowed little stuccoed wartime bungalows at the bottom of the hill. At the top of the hill were the richer houses, and the richer people: the girls who owned cashmere sweaters, at least one of them, instead of the orlon and lambswool so familiar to Jane. Vincent lived about halfway up the hill. He still had a father, in theory. They would sit against the back fence, near the spindly cosmos flowers that passed for a garden, as far away from the house itself as they could get. They would drink gin, decanted by Vincent from his father's liquor hoard and smuggled in an old military pocket flask he'd picked up somewhere. They would imitate their mothers.
'I pinch and scrape and I work my fingers to the bone, and what thanks do I get?' Vincent would say peevishly. 'No help from you, Sonny Boy. You're just like your father. Free as the birds, out all night, do as you like and you don't care one pin about anyone else's feelings. Now take out that garbage.'
'It's love that does it to you,' Jane would reply, in the resigned ponderous voice of her mother. 'You wait and see, my girl. One of these days you'll come down off your devil-may-care high horse.' As Jane said this, and even though she was making fun, she could picture Love, with a capital L, descending out of the sky towards her like a huge foot. Her mother's life had been a disaster, but in her own view an inevitable disaster, as in songs and movies. It was Love that was responsible, and in the face of Love, what could be done? Love was like a steamroller. There was no avoiding it, it went over you and you came out flat.
Jane's mother waited, fearfully and uttering warnings, but with a sort of gloating relish for the same thing to happen to Jane. Every time Jane went out with a new boy her mother inspected him as a potential agent of downfall. She distrusted most of these boys; she distrusted their sulky, pulpy mouths, their eyes half-closed in the updrifting smoke of their cigarettes, their slow, sauntering manner of walking, their clothing that was too tight, too full, too full of their bodies. They looked this way even when they weren't putting on the sulks and swaggers, when they were trying to appear bright-eyed and industrious and polite for Jane's mother's benefit, saying goodbye at the front door, dressed in their shirts and ties and their pressed heavy-date suits. They couldn't help the way they looked, the way they were. They were helpless; one kiss in a dark corner would reduce them to speechlessness, they were sleep-walkers in their own liquid bodies. Jane on the other hand was wide awake.
Jane and Vincent did not exactly go out together. Instead they made fun of going out. When the coast was clear and Jane's mother wasn't home, Vincent would appear at the door with his face painted bright yellow, and Jane would put her bathrobe on back to front and they would order Chinese food and alarm the delivery boy and eat sitting cross-legged on the floor, clumsily, with chopsticks. Or Vincent would turn up in a threadbare thirty-year-old suit and a bowler hat and a cane, and Jane would rummage around in the cupboard for a discarded church-going hat of her mother's, with smashed cloth violets and a veil, and they would go downtown and walk around, making loud remarks about the passers-by, pretending to be old, or poor, or crazy. It was thoughtless and in bad taste, which was what they both liked about it.
Vincent took Jane to the graduation formal, and they picked out her dress together at one of the second-hand clothing shops . Vincent frequented, giggling at the shock and admiration they hoped to cause. They hesitated between a flame-red with falling-off sequins and a backless hip-hugging black with a plunge front, and chose the black, to go with Jane's hair. Vincent sent a poisonous-looking lime-green orchid, the colour of her eyes he said, and Jane painted her eyelids and fingernails to match. Vincent wore white tie and tails, and a top hat, all-frayed Sally-Ann issue, and ludicrously too large for him. They tangoed around the gymnasium, even though the music was not a tango, under the tissue-paper flowers, cutting a black swathe through the sea of pastel tulle, unsmiling, projecting a corny sexual menace, Vincent with Jane's long pearl necklace clenched between his teeth.
The applause was mostly for him, because of the way he was adored. Though mostly by the girls, thinks Jane. But he seemed to be popular enough among the boys as well. Probably he told them dirty jokes, in the proverbial locker room. He knew enough of them. As he dipped Jane backwards, he dropped the pearls and whispered into her ear, 'No belts, no pins, no pads, no charing.' It was from an ad for tampons, but it was also their leitmotif. It was what they both wanted: freedom from the world of mothers, the world of precautions, the world of burdens and fate and heavy female constraints upon the flesh. They wanted a life without consequences. Until recently, they'd managed it.
The scientists have melted the entire length of the young sailor now, at least the upper layer of him. They've been pouring warm water over him, gently and patiently; they don't want to thaw him too abruptly. It's as if John Torrington is asleep and they don't want to startle him.
Now his feet have been revealed. They're bare, and white rather than beige; they look like the feet of someone who's been Walking on a cold floor, on a winter's day. That is the quality of the light they reflect: winter sunlight, in early morning. There is something intensely painful to Jane about the absence of socks.. They could have left him his socks. But maybe the others needed them. His big toes are tied together; the man talking says this was to keep the body tidily packaged for burial, but Jane is not convinced. His arms are tied to his body, his ankles are tied together. You do that when you don't want a person walking around.
This part is almost too much for Jane, it is too reminiscent. She reaches for the channel switcher, but luckily the show (it is only a show, it’s only another show) changes to two of the historical experts, analysing the clothing. There's a close-up of John Torrington's shirt, a simple high-collared pinstriped white and blue cotton, with mother of pearl buttons. The stripes are a printed pattern, rather than a woven one; woven would have been more expensive. The trousers are grey linen. Ah, thinks Jane. Wardrobe. She feels better: this is something she knows about. She loves the solemnity, the reverence, with which the stripes and buttons are discussed. An interest in the clothing of the present is frivolity, an interest in the clothing of the past is archaeology; a point Vincent would have appreciated.

After high school, Jane and Vincent both got scholarships to university, although Vincent had appeared to study less, and did better. That summer they did everything together. They got summer jobs at the same hamburger heaven, they went to movies together after work, although Vincent never paid for Jane. They still occasionally dressed up in old clothes and went downtown and pretended to be a weird couple, but it no longer felt careless and filled with absurd invention. It was beginning to occur to them that they might conceivably end up looking like that.
In her first year at university Jane stopped going out with other boys: she needed a part-time job to help pay her way, and that and the schoolwork and Vincent took up all her time. She thought she might be in love with Vincent. She thought that maybe they should make love, to find out. She had never done such a thing, entirely; she had been too afraid of the untrustworthiness of men, of the gravity of love, too afraid of consequences. She thought however, that she might trust Vincent.
But things didn't go that way. They held hands, but they didn't hug; they hugged, but they didn't pet; they kissed, but they didn't neck. Vincent liked looking at her, but he liked it so much he would never close his eyes. She would close hers and then open them, and there would be Vincent, his own eyes shining in the light from the streetlamp or the moon, peering at her inquisitively as if waiting to see what odd female thing she would do next, for his delighted amusement. Making love with Vincent did not seem altogether possible.
(Later, after she had flung herself into the current of opinion that had swollen to a river by the late sixties, she no longer said 'making love', she said 'having sex'. But it amounted to the same thing. You had sex, and love got made out of it whether you liked it or not. You woke up in bed or more likely on a mattress, with an arm around you, and found yourself wondering what it might be like to keep on doing it. At that point Jane would start looking at her watch. She had no intention of being left in any lurches. She would do the leaving herself. And she did.)
Jane and Vincent wandered off to different cities. They wrote each other postcards. Jane did this and that. She ran a co-op food store in Vancouver, did the financial stuff for a diminutive theatre in Montreal, acted as managing editor for a small publisher, ran the publicity for a dance company. She had a head for details and for addling up small sums - having to scrape her way through university had been instructive - and such jobs were often available if you didn't demand much money for doing them. Jane could see no reason to tie herself down, to make any sort of soul-stunting commitment, to anything or anyone. It was the early seventies; the old heavy women's world of girdles and precautions and consequences had been swept away. There were a lot of windows opening, a lot of doors; you could look in, then you could go in, then you could come out again.
She lived with several men, but in each of the apartments there were always cardboard boxes, belonging to her, that she never got around to unpacking; just as well, because it was that much easier to move out. When she got past thirty she decided it might be nice to have a child, sometime, later. She tried to figure out a way of doing this without becoming a mother. Her own mother had moved to Florida, and sent rambling, grumbling letters, to which Jane did not often reply.
Jane moved back to Toronto, and found it ten times more interesting than when she'd left it. Vincent was already there. He'd come back from Europe, where he'd been studying film; he'd opened a design studio. He and Jane met for lunch, and it was the same: the same air of conspiracy between them, the same sense of their own potential for outrageousness. They might still have been sitting in Jane's garden, beside the cosmos flowers, drinking forbidden gin and making fun.
Jane found herself moving in Vincent's circles, or were they orbits? Vincent knew a great many people, people of all kinds; some were artists and some wanted to be, and some wanted to know the ones who were. Some had money to begin with, some made money; they all spent it. There was a lot more talk about money, these days, or among these people. Few of them knew how to manage it and Jane found herself helping them out. She developed a small business among them, handling their money. She would gather it in, put it away safely for them, tell them what they could spend, dole out an allowance. She would note with interest the things they bought, filing their receipted bills: what furniture, what clothing, which objects.  They were delighted with their money, enchanted with it. It was like milk and cookies for them, after school. Watching them play with their money, Jane felt responsible and indulgent, and a little matronly. She store her own money carefully away, and eventually bought a townhouse with it.
All this time she was with Vincent, more or less. They’d tried being lovers but had not made a success of it. Vincent had gone along with this scheme because Jane had wanted it, but he was elusive, he would not make declarations. What worked with other men did not work with him: appeals to his protective instincts, pretences at jealousy, requests to remove stuck lids from jars. Sex with him was more like a musical workout. He couldn’t take it seriously, and accused her of being too solemn about it. She thought he might be gay, but was afraid to ask him; she dreaded feeling irrelevant to him, excluded. It took them months to get back to normal.

He was older now, they both were. He had thinning temples and a widow’s peak, and his bright inquisitive eyes had receded even further into his head. What went on between them continued to look like a courtship, but was not one. He was always bringing her things: a new, peculiar food to eat, a new grotesquery to see, a new piece of gossip, which he would present to her with a sense of occasion, like a flower. She in her turn appreciated him. It was like a yogic exercise, appreciating Vincent; it was like appreciating an anchovy, or a stone. He was not everyone’s taste.

There’s a black-and-white print on the television, then another: the nineteenth century’s version of itself, in etchings. Sir John Franklin, older and fatter than Jane had supposed; the Terror and the Erebus, locked fast in the crush of the ice. In the high Artic, a hundred and fifty years ago, it’s the dead of winter. There is no sun at all, no moon; only the rustling northern lights, like electronic music, and the hard little stars.

What did they do for love, on such a ship, at such a time? Furtive solitary gropings, confused and mournful dreams, the sublimation of novels. The usual, among those who have become solitary.

Down in the hold, surrounded by the creaking of the wooden hull and stale odours of men far too long enclosed, John Torrington lies dying. He must have known it; you can see it on his face. He turns towards Jane his tea-coloured look a puzzled reproach.

Who held his hand, who read to him, who bought him water? Who, if anyone, loved him? And what did they tell him about whatever it was that was killing him? Consumption, brain fever, Original Sin. All those Victorian reasons, which meant nothing and were the wrong ones. But they must have been comforting. If you are dying, you want to know why .

In the eighties, things started to slide. Toronto was not so much fun any more. There were too many people, too many poor people. You could see them begging on the streets, which were clogged with fumes and cars. The cheap artists studios were torn down or converted to coy and upscale office space; the artists have migrated elsewhere. Whole streets were torn up or knocked down. The air was full of windblown grit.
People were dying. They were dying too early. One of Jane's clients, a man who owned an antique store, died almost overnight of bone cancer. Another, a woman who was an entertainment lawyer, was trying on a dress in the boutique and had a heart attack. She fell over and they called the ambulance, and she was dead on arrival. A theatrical producer died of AIDS, and a photographer; the lover of the photographer shot himself, either out of grief or because he knew he was next. A friend of a friend died of emphysema, another of viral pneumonia, another of hepatitis picked up on a tropical vacation, another of spinal meningitis. It was as if they had been weakened by some mysterious agent, a thing like a colourless gas, sadness and invisible, so that any germ that happened along could invade their bodies, take them over.

Jane began to notice new items, the kind she'd once skimmed over. Saple groves dying of acid rain, hormones in the beef, mercury in the fish, pesticides in the vegetables, poison sprayed on the fruit, God knows what in the drinking water. She subscribed to a bottled spring water service and felt better for a few weeks, then read in the paper that it wouldn't do her much good, because whatever it was had been seeping into everything. Each time you took a breath, you breathe some of it in. She thought about moving out of the city, then read about toxic dumps, radioactive waste, concealed here and there in the countryside and massed by the lush, deceitful green of waving trees.

Vincent had been dead for less than a year. He was not put into the permafrost or frozen in ice. He went into the necropolis, the only Toronto Cemetery of whose general ambience he approve; he got flower bulbs planted on top of him, by Jane and others. Mostly by Jane. Right now John Torrington, recently thawed after one hundred and fifty years, probably looks better than Vincent.

A week before Vincent's forty-third birthday, Jane went to see him in the hospital. He was in for tests. Like fun he was. He was in for the unspeakable , the unknown. He was in for a mutated virus that didn't even have a name yet. It was creeping up his spine, and when it reached his brain it would kill him. It was not, as they said, responding to treatment. He was in for the duration.

It was quiet in his room, wintry. He laid packed in ice, for the pain. A white sheet wrapped him, his white thin feet poked out the bottom of it. They were so pale and cold. Jane took one look at him, laid out on ice like a salmon, and began to cry.

"Oh Vincent," she said. "What will I do without you?" This sounded awful. It sounded like Jane Vincent were making fun, of obsolete books, obsolete movies, their obsolete mothers. It also sounded selfish: here she was, worrying about herself and her future, when Vincent was the one who was sick, but it was true. There would be a lot less to do, altogether, without Vincent.

Vincent gazed up at her; the shadows under his eyes were cavernous. "Lighten up," he said, not very loudly, because he could not speak very loudly now. By this time she was sitting down, leaning forward; she was holding one of his hands. It was thin as the claw of the bird. "Who says I'm going to die?" He spent a moment considering this, revised it. "You're right," he said." They got me. It was the Pod People from outer space. They said, "all I want is your poddy."

Jane cried more. It was worse because he was trying to be funny. "But what is it?" she said. "Have they found out yet?"

Vincent smiled his ancient, jaunty smile, his smile of detachment, of amusement. There were his beautiful teeth, juvenile as ever. "Who knows?" he said. "It must have been something I ate."

Jane sat with tears running down her face. She felt desolate: left behind, stranded. Their mothers had finally caught up to them and been proven right. There were consequences after all; but they were the consequences to things you didn't even know you’d done.

The scientists are back on screen. They are excited, their earnest mouths are twitching, you could almost call them joyful. They know why John Torrington died; they know, at last, why the Franklin Expedition went so terribly wrong. They've snipped off pieces of John Torrington, a fingernail, a lock of hair, they've run them through machines and come out with the answers.

There is a shot of an old tin can, although open to show the seam. It looks like a bomb casing. A finger points: it was the tin cans that did it, a new invention back then, a new technology, the ultimate defence against starvation and scurvy. The Franklin Expedition was excellently provisioned with tin cans, stuffed full of meat and soup and soldered together with lead. The whole expedition got lead poisoning. Nobody knew it. Nobody could taste it. It invaded their bones, their lungs, their brains, weakening them and confusing their thinking, so that at the end those that had not yet died in the ships set out in an idiotic trek across the stony, icy ground, pulling a lifeboat laden down with toothbrushes, soap, handkerchiefs, and slippers, useless pieces of junk. When they were found ten years later, they were skeletons in tattered coats, lying where they'd collapsed. They'd been heading back towards the ships. It was what they been eating that had killed them.

Jane switches off the television and goes into her kitchen – all-white, done over the year before last, the outmoded butcher-block counters from the seventies torn out and carted away – to make herself some hot milk and rum. Then she decides against it; she won't sleep anyway. Everything in here looks ownerless. A toaster oven, so perfect for solo dining, the microwave for the vegetables, her espresso maker – they're sitting around waiting for her departure, for this evening or forever, in order to assume their final, real appearances of purposeless objects adrift in the physical world. They might as well be pieces of an exploded spaceship orbiting the moon.
She thinks about Vincent's apartment, so carefully arranged, filled with the beautiful or deliberately-ugly possessions he once loved. She thinks about his closet, with its quirky particular outfits, empty now of his arms and legs. It has all been broken up now, sold, given away.
Increasingly the sidewalk that runs past her house is cluttered with plastic drinking cups, crumpled soft-drink cans, used take­out plates. She picks them up, clears them away, but they appear again overnight, like a trail left by an army on the march or by the fleeing residents of a city under bombardment, discarding the objects that were once thought essential but are now too heavy to carry.
Write the lyrics for a misc song made in 1991, titled "The Age of Lead", by artist "Margaret Atwood".