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this on—she’d been tired lately, moody, a little short-tempered. As Anna walked into the kitchen she heard the car pull into the drive. She could feel muscles tightening all over her body, as if she were sensing danger.
    HELPLESS . In an interview with a reporter from the Daily Observer , Sharon Hands spoke of her feeling of helplessness during the attack. “I felt like there was nothing I could do,” she said. “I was completely at his mercy.” She went on to say that she now knew what it must be like to be abused by a man, and that her heart went out to women everywhere. She said the stranger was a menace to society and urged everyone to cooperate fully with the police. She invited us to check out her brand-new blog; she looked forward to reading our comments. Beside the article appeared a color photograph of Sharon Hands: a pretty girl with straight blond hair, large brown eyes, and an easy smile. On her cheek was a ruddy glow that made us think of the slap. We were upset for many reasons by the attack on Sharon Hands, and we understood her feeling of terrible helplessness. At the same time we had the sense that the interview revealed a young woman who was confident, self-possessed, and not at all unhappy to have our attention.
    ANALYSIS OF A SLAP . Those of us who were inclined to distance ourselves from the drama of particular instances, and to think about the slap as a phenomenon in itself, tended to see in it two opposite qualities. In one sense, it seemed to us, a slap is a form of withholding, of refusal: it presents itself as the deliberate absence of a more damaging blow. Its aim isn’t to break a bone or to draw blood, but to fall short of both. The physical evidence of the slap—a redness in the cheek—conveys its meaning perfectly: it is the sign of blood, without the blood. In the same way, the pain of a slap is a sign of the greater pain not inflicted. But looked at another way, the slap doesn’t merely withhold: the slap imparts. What it imparts is precisely the knowledge of greater power withheld. In that knowledge lies the genius of the slap, the deep humiliation it imposes. It invites the victim to accept a punishment that might have been worse—that will in fact be worse if the slap isn’t accepted. The slap requires in the victim an unwavering submission, an utter abnegation. The victim bends in spirit before a lord. In this sense the slap is internal. It is closer to a word than to a blow. The sting passes, the redness fades, but the wound lingers, invisible. Therein lies the deepest meaning of the slap: its real work takes place secretly, out of sight, on the inside.
    VALERIE KOZLOWSKI . Two days later, at 9:05 in the evening, Valerie Kozlowski sat at her kitchen table, drinking a cup of mint tea and finishing the daily crossword puzzle she had begun at breakfast. She liked coming home at 7:00 to the mail and the partly filled-in crossword; clues that had seemed vague and elusive at breakfast sometimes became transparent after a nine-hour day at the store and an hour of closing up. She put in six days a week at Now You See It, the consignment shop she co-owned with her sister; in addition, there was the sideline of estate appraisals, which sometimes had her scurrying out at night or on Sundays. They needed to hire a girl to help out, but sales were flat and her sister wanted to wait. Her sister always wanted to wait. What they really needed was a major reorganization. The vintage dresses were crowded against the back wall, pedestal tables and vanities were covered with sugar bowls and snakeskin purses and ivory netsuke warriors and fishermen, the highboy in the corner was half concealed by a rack of furs, and the sale tables along the side walls were cluttered with china teapots, antique butter dishes, and lamps with scenic shades. Items needed to be displayed clearly, without crowding, though how you did that in the cramped space of the store was another question. It was a matter of