literary analysis essay handmaid's tale

The Handmaid’s Tale Literary Analysis

‘The Handmaid’s Tale’ is a feminist novel that highlights the perils of women in a society that has not only dehumanized their status but also made it almost criminal to be a woman. The novel highlights a cruel world where women do not enjoy the freedom of choice. In ‘ The Handmaids Tale,’ women are painted as objects for male selfish desires and satisfaction.

Using this law, men have withdrawn all the things that would have otherwise made life worth living for women. In the Republic of Gilead, women are not supposed to read, write or even listen to music. These are luxuries only reserved for men. Women are also denied the natural pleasures such as love and romance. They have seen as objects of male enjoyment something that has no human values other than to make men happy. As such, they live in a dystopic world.

The story reads like a fictional autobiography. It is told from the first person point of view. However, this story is not just propaganda to highlight gender issues. This is because of its complex characters, setting, and thematic concerns. The male character is torn between remaining loyal to the faith or breaking the law and engaging in the pure pleasure of love and romance. The reader feels that some of the male characters identify with the suffering of the female character but cannot do anything as they are held ransom by the Faith.

The novel also seamlessly combines the fundamentals of modern religion with ancient totalitarian regimes of leadership, making it a masterpiece. The complexity of the novel and the ideals it propagates makes it more than a work of fiction because it highlights real issues that affect modern-day societies.

To a keen reader, the setting of the novel is very complicated as it combines ancient, modern and post-modernistic issues in an almost unnoticeable way. Time-wise, the novel is set not so much into the distant future. Geographically, the story happens in a land where the former United States of America lies after a Christian theocratic regime overthrows it.

The Republic of Gilead, the resultant state, thus lies within the boundaries of the current United States of America. When the United States of America government is overthrown and democracy replaced by ancient Christian theocracy that borrows heavily from the Old Testament, the reader is thrown back in time to when government hid behind religion to establish oppressive regimes.

Still, the novels highlight the use of credit cards, effectively depicting a government desperate to fight pollution and other challenges of the modern world. That a commander rules the country brings the reader into the present day world, a world of absolute dictatorship (Atwood 81). The plight to the handmaids who are engaged to bear children for the commander’s wives is symbolic of the biblical Old Testament characters of Rachel and Leah.

This means that the social setting is not only heavily laden with fundamental Christian ideals but also post modernistic social issues such as population control. The complex nature of the setting, therefore, influences the direction of the story in that it helps the author to sufficiently blend historical and futuristic ideal in a way seen as still relevant to the modern world.

The reader can understand the story better upon a closer analysis of the characters. The main character is also the narrator and tells the story from the first person point of view making it more of an autobiography. The narrator, Offred, can be seen as both an objective observer and actor. Telling the story from the first person point of view means that any misinterpretations are avoided. As such, the reader is able to get information that is as close to the fact a first-person interpretation of those facts.

Because the narrator is the emblem of the plight of all women in this society, telling the tale from the first-person point of view makes it easy for the reader to understand what women go through and at the same time, share in their plight. It also helps to make the story real and eliminates the notion that the story is just mere feministic propaganda (Brians para 10).

Offred is best understood from the analysis of her name, the symbolic roles she plays in the novel as the symbol of women suffering. Offred, the protagonist, is kidnapped from her husband and thus separated from her family by this oppressive dynasty. She is brought to the commander’s house to bear children for his barren wife. Offred is her patronymic name which can be broken down into two names: of and Fred. This indicates that she is of Fred meaning that she belongs to Fred, the commander.

Offred is seen to change throughout the story from the wife of a peasant to the emblematic figure of women liberation. Her significance is seen through her symbolic birth name June, which in the context of the Republic of Gilead means Mayday, the day the women, will be salvaged from their torment. Her name June thus becomes symbolic of the résistance that would soon lead to their freedom (Atwood 220).

It is possible to develop an understanding of the character from her description of herself. Despite living in a male-dominated world where the power of women has been dramatically curtailed, Offred still manages to maintain a self-awareness of who she is and confidently identifies herself as a woman without any hint that she belongs to any man.

She describes her physical attributes that are distinctively feminine. Furthermore, despite living in a world where a woman is just an object of man’s desire Offred is able to strictly maintain the definition of herself as purely woman, devoid of any material trappings thus: ‘I am thirty-three years old. I have brown hair. I stand five seven without shoes’ (Atwood 143). It is this appreciation of herself as a woman coupled with her symbolic name June which makes Offred the emblematic figure of the resistance to male domination.

Offred is also the insignia of how women suffer sexually. It is through her experiences that the reader comes to know her strengths as a woman, repressed thoughts and aspirations that she poses regarding intimacy. It is through Offred that the reader is able to see the way women, in general, are degraded as mere tools for men’s sexual gratification.

Offred describes her sexual experiences from the first person’s perspective and sees sex in four ways. For her, the sexual experiences that women in the Republic of Gilead go through cannot be termed as lovemaking, neither can they be said to be rape as women are not supposed to have right to sex and thus by default should not have the right and the power to refuse.

In this case, it is not even within the power of women to refuse sex. Offred says that her sexual encounters with Fred, her master commander, cannot also be termed as copulation either as this means that two people are involved. In real sense, only the commander is involved as her senses, mind, and emotion are not. In her words, sex is seen as degrading, humiliating as well as an emotionless experience as it is only physical and given upon demand from men thus:

“My red skirt is hitched up to my waist, though no higher. Below it the Commander is fucking. What he is fucking is the lower part of my body. I do not say making love, because this is not what he’s doing. Copulating too would be inaccurate because it would imply two people and only one is involved. Nor does rape cover it: nothing is going on here that I haven’t signed up for” (Atwood 94).

Other than the main character, other characters play significant roles in this story. Even though these characters have individual uniqueness they have been categorized into two main groups: male and female. The male characters are divided into four: The Commander of the Faithful led by Fred, for whom Offred is a handmaid. He is the symbolic male chauvinistic character in the novel.

There are also the Eyes, the men who offer intelligence services to the Republic of Gilead rulership, Angels and Guardians of Faith who are the soldiers who fight to protect the republic as well as the Gender Traitors the homosexuals seen as traitors of the Faith and sent to die painfully in the colonies.

The relationships between the main character Offred and the men are master-servant kind of relationship. Through this relationship, the reader is able to see the weaknesses rather than the strengths of men. Although the novel presents men as superior and faultless, it is their ability not to procreate (to be infertile) that exposes their weak side. This proves that the notion of men being superior with absolute power over women is false.

Women are the stronger characters as they are the ones who are able to procreate. Offred, as well as other handmaids, are taken from their lawful marriages to procreate for infertile kings (It is unheard of and illegal to declare men as sterile). The commander is seen as sterile by his wife Serena Joy who arranges from Offred to sleep with her driver to give birth for the commander. This experience also presents women as too willing and ready collaborators.

Women characters are also divided into two main groups: legitimate and illegitimate. The legitimate women are the wives, maids like Offred, Aunts, Martha’s and economies. The aunts are seen as stumbling blocks to the freedom of the women. They, like the men, have the luxuries of reading and writing (Atwood 139) and are seen as part of the colony.

In one of the most visible oppositions to the liberation of the woman, the aunts tell Offred to stop’ June-ing’ too much: June means mayday liberations (Atwood 220). The handmaids in the house of the commander also give the story from a biblical perspective in reference to some of the biblical figures who took maids to bear children for them when their wives could not.

The most effective tool for communication is the use of language. The author uses language creatively as a tool for communication. The author uses modern language words and syntax construction, making the novel seem so deceptively easy to read.

Language is used as a very powerful tool for communicating women aspirations for freedom as well as portray the colonial mentality of their men in these societies effectively. The choice of words in describing Offred sexual experiences with the commander shows that the women are emotionally removed from the experience. It also portrays the ability of the woman to communicate their notion about sex, which is far from what men see it be.

The author chooses words like copulations, rape, fucking and making love to describe Offred’s perspectives of sex. These words also portray the author as having a modernistic approach to sex not just as an act of procreation but as a way to express love. Through the tone of language the reader can see that a woman does not see sex as just an act but an expression of love, something devoid in this society (Atwood 94). The authors choice of words like ‘unbabies’ reflect the fears that do exist amongst the women of this society.

The author’s use of dialogue is also as effective as the choice of words. Various dialogues have different effects. However, the most common outcome of the use of dialogues portrays women’s emotional connection regardless of their individual character. Offred’s prayer said in monologue reflects her fears as a woman, her loss self and of life, and her desire to gain it back (Atwood 286).

Although the treacherous Ofglen is the opposite of Offred in character, their dialogue portrays them as sharing in the suffering that all women go through (Atwood 285). Furthermore, the telephone conversation that Moira and Offred have prepares the readers for what might occur the woman after the fall of the United States of America. It is also an indication that the woman had a premonition of what was to befall her after the establishment of the Republic of Gilead (Atwood 174).

‘ The Handmaid’s Tale’ is a story told about the future and the problems that might occur in the world due to technological advancement. As such it is not necessarily a piece of science fiction but speculative fiction, a narration of probable things that might happen in future. It also deviates from the mere feminist propagandist genres as it has a complicated setting, characters, and themes.

Even though the novel is an exaggeration, it portrays the fact that women are still oppressed in the modern world. As such the tale is not far fetched as even the male, a reader is able to identify with the oppressed women in the novel as well as in real life.

Works Cited

Atwood, Margaret. The Handmaid’s Tale. New York: Anchor Books, 1986. Print.

Brians, Paul. “ Study Guide to Margaret Atwood: The Handmaid’s Tale (1986). ” 1995. Web.

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The Handmaid’s Tale

Margaret atwood, ask litcharts ai: the answer to your questions.

Welcome to the LitCharts study guide on Margaret Atwood's The Handmaid’s Tale . Created by the original team behind SparkNotes, LitCharts are the world's best literature guides.

The Handmaid’s Tale: Introduction

The handmaid’s tale: plot summary, the handmaid’s tale: detailed summary & analysis, the handmaid’s tale: themes, the handmaid’s tale: quotes, the handmaid’s tale: characters, the handmaid’s tale: symbols, the handmaid’s tale: theme wheel, brief biography of margaret atwood.

Historical Context of The Handmaid’s Tale

Other books related to the handmaid’s tale.

• Full Title: The Handmaid’s Tale
• When Written: Early 1980s
• Where Written: West Berlin
• When Published: 1985
• Literary Period: Feminist
• Genre: Speculative Fiction / Science Fiction / Dystopia
• Setting: Cambridge, Massachusetts under the dystopian government of the Republic of Gilead, which has replaced the United States.
• Climax: The Eyes, or maybe the Mayday Resistance, come to pick up Offred
• Antagonist: Though the Commander, Serena Joy, and Aunt Lydia seem to be Offred’s enemies, the real antagonist is the Republic of Gilead itself.
• Point of View: First person limited

Extra Credit for The Handmaid’s Tale

A Movie…and an Opera The Handmaid’s Tale became a movie in 1990 (with a screenplay mostly written by the acclaimed playwright Harold Pinter), and an opera (with music by the Danish composer Poul Ruders) in 2000. Both productions received mixed reviews. In the movie, Duke University’s campus subs in for Harvard in the Salvaging scene.

Speculative Fiction or Science Fiction? Atwood insists on the label speculative fiction for the novel, since she thinks its events could actually occur, whereas those of science fiction are more far-fetched. This distinction has drawn debate and ire from science fiction writers.

The Handmaid’s Tale

Introduction to the handmaid’s tale.

The Handmaid’s Tale is written by the Canadian Nobel laureate, Margaret Atwood. It was published in 1985. This dystopian novel sets a new trend in postmodern, futuristic fiction by presenting a totalitarian regime of Gilead in the United States in the aftermath of civil war, a patriarchal future government. The story revolves around the narrative of Offred, a woman heading the group of women called handmaids assigned to produce children of the state for the ruling class of commanders. The novel presents the theme of feminine individuality under patriarchal subjugation, winning Booker, Arthur C. Clark, and Nebula Awards in quick succession for Atwood.

Summary of The Handmaid’s Tale

The story revolves around Offred, a handmaid, in the state of Gilead, which is a new republic. The state has just replaced the United States with its totalitarian setup through theocratic narrative. The newly formed state was militarized, gave no rights to women making them natal slaves, and are not allowed to read or possess any property. The handmaids have been employed to produce children of the elite class on account of the low birthrate. Although Offred (addition of the prefix Of- to the first name of the man she is with) is not a wife, she serves Serene Joy and her husband, Commander Fredrick Waterford. Serena Joy is a former singer of the gospel and preaches traditional values to be adhered to in Gilead.

Offred is doing her job without showing her personality and emotions and has to copulate with the Commander at the end of her menstrual cycle every month in the presence of Serena, holding her. This restriction of freedom, however, does not span over her shopping spree, though the Eyes, the spying agency, keeps a strict watch on all handmaids to control the rebellion. Constructed of her flashbacks , the narrative moves back and forth into Gilead, the state where she had a former paramour, Luke, who married Offred a second time after divorcing his first wife to have a child from her. Although both Luke and Offred try to leave for Canada, they are caught and separated from each other to work in Gilead. Their daughter was taken away from her and sent to be adopted by the higher class.

Offred is unaware of her daughter’s whereabouts. Being a daughter of a feminist, she befriends Moira, another feminist, who is living in Gilead where excessive usage of chemicals has deprived women of fertility. The new elite class has taken over the presidential, congressional, and other seats in a coup, claiming to wield power for a brief period after imposing their agenda. Offred is, then, sent to Leah Re-education Center, for her re-education where she goes through the Gilead indoctrination to be ready for becoming a handmaid. In the supervision of Aunt Lydia, she learns to be subservient to the patriarchal set up to work on child-producing tasks, a sole task of women in this republic. She meets her former friend Moira over there but she flees the center.

After she leaves the center, she starts leading a restrictive life with the Commander and goes with Ofglen, another handmaid for shopping. She also visits the Wall which used to be Harvard University where rebels are sent to gallows. At the Commander’s house, she has to undergo medical tests as well as attend the “Ceremony” of the Bible reading by the Commander before going to bed. In the morning, she visits the doctor, Nick again, who suggests her to be pregnant with him, suggesting the infertility of the Commander. Seeing risks in this venture, she refuses after which she comes backs. Sensing something doubtful, the Commander calls not only his gardener and driver but also Offred to his study, but she finds him inviting them to play Scrabble and read Vogue. Surprisingly, these secret meetings only lead to his kissing that she endures regularly.

In her routine of shopping, Ofglen once tells her that she should join her underground organization “Mayday” which is working to replace Gilead. Following this, she finds even the Ceremony as a routine, while their nocturnal meetings have disclosed to her that the Commander is also interested in bringing a new order. Seeing no pregnancy of Offred, Serene comes forward with a suggestion of having her pregnant through Nick and pass it on as Commander’s baby, a risky venture. But she frequently starts having intercourse with Nick without anyone’s knowledge. The next night the Commander takes her to Jezebel, a club of prostitutes formerly career professionals or academics who couldn’t settle in any role under the Gilead. She finds Moira there who discloses that she was captured on the border and chose to live at Jezebel’s.

After this, she never comes across her, while she also feigns enjoying sex with the Commander despite having no interest in it. After her arrival back home, she joins hands with Serena to copulate with Nick for a child as both have agreed that the Commander is perhaps infertile. When this happens, Offred ignores requests of Ofglen about information while they participate in hanging a rapist, who was in fact the member of Mayday under the supervision of Aunt Lydia. Later it transpires that the dead was the Mayday member. When Offred leaves for shopping, she meets a new Ofglen who informs her about the suicide of the old Ofglen, stating the reason for her suicide because she saw secret police coming for her. Soon Serene comes to know about her trip to Jezebel’s and sends the Eyes after her after locking her in a room. However, Nick arrives just in the nick of time to inform her that they are the Mayday member and that they are coming to take her and she is soon with them to her unknown destination.

The epilogue of the novel shows the downfall of Gilead through the writing of a professor, James Darcy Pieixoto who discusses its novel customs and reforms. He touches on the story of Offred in his research saying that it has existed somewhere in the past and was found in the cassette tapes in Bangor. Analyzing the escape of Offred with Nick, the professor presents his inconclusive analysis, saying that she could have fled to the United Kingdom or Canada or might have been recaptured. This book is written for adults only and contains graphic descriptions that are not suitable for young readers.

Major Themes in The Handmaid’s Tale

• Power : The theme of power in The Handmaid’s Tale is presented through the regime change that Gilead has brought in the shape of a theocracy where patriarchy has taken hold of every field of life. Although it seems to Offred that the Commander has all the power, when it comes to sex and other such needs, she senses that even the Commander is a tool in some big scheme of things. Therefore, she uses the power of sexuality over others, the reason that Serena understands that the Commander has lost his carnal power after which she makes him copulate with Nick so that they could have a child. This use and abuse of power extend to the woman, making them handmaids, and to the other men, creating a force of the guardians, angels, and eyes to take care of the regime to stop it from crumbling.
• Sexuality: The theme of sexuality is clear from Offred and other handmaids how they control the commanders and other male members of this establishment. It is observed that gays and lesbians are put to death, explicit video contents and sensual clothing are abolished, while abortion has become an anathema. The compartmentalized biblical teachings have become the ethos of this system’s main narrative so that nobody should voice dissidence to cause any change. However, despite these measures, the intimate relationship of Offred with Nick in secret with the connivance of Serena, the Commander’s wife, shows that sexuality, a natural phenomenon cannot be suppressed with artificial bans and restrictions. The secret life of the Commander and his visits to Jezebel’s demonstrate the power of sexuality and how it drives the patriarchy.
• Individual and Society: The novel also sheds light on individuality, arguing the case of individuals whether the society could be preferred over an individual or vice versa . The importance of the Historical Notes in the story points out that the Gilead society has transformed due to the shortage of individuals, the reason that special circumstances have been created to produce more children despite restrictions on the show of sexuality. The regime has allowed the use of certain women to enlist them first and subsequently isolate them for sex and reproduction to increase the population. Therefore, individuality has been put on the backburner and utilitarianism has been brought forward to ensure the happiness of the largest segment of the population. In fact, this theocratic establishment has given cold logic about the individuality; be it of a man or a woman, violating their rights, the reason that handmaids, as well as the commanders, frequently violate the very rules on which the foundation of Gilead has been laid down.
• Feminism: As the title of the novel suggests that it has some feminine streak in it despite having the sense that most of the females are feeling a sense of suppression. Offred, despite her being a slave handmaid to serve the purpose of producing the children of the Commander, knows that she has the power of her own. When she finds Moira enjoying life despite her arrest and subsequent disappearance, it becomes clear that Atwood’s purpose is to show that femininity is part of life whether religious bureaucracy or the elite class likes it or not. It is also clear from Offred, the daughter of a staunch feminist, that she does not know it before the Gilead has come into being, and she considers that it would rather alienate her. Therefore, the novel presents both sides of the coin to present a balanced argument about feminism.
• Language: Language and its interpretation is another major theme of the novel in that Offred’s story shows that reinterpretation of everything is done to create the Gilead regime. Even theology is reinterpreted in new lights to create a narrative for the elite administration. Although she uses language in different ways, her thoughts about different words point to the use of language and its power. The act of playing Scrabble by Commander also shows that Offred is in confusion about language and is using it to hide her confusion.
• Fertility and Femininity: The novel shows the significance of fertility that despite being specific women having a specific role for reproduction, infertility in the upper crust of the society has become problematic. Offred could not become pregnant due to the infertility of the Commander where the femininity of Serene asserts itself in the shape of suggestion for Offred to copulate with Nick and yet she keeps it a secret. Therefore, fertility is an issue but it is not of femininity; it is of patriarchy.
• Rebellion: The novel shows that despite excessive restrictions and surveillance, there is a rebellion; first Offred rebels but is caught and sees in Jezebel’s that her colleague, Moira, who has rebelled with her is caught and thrown over there. Yet, Moira again rebels against the regime. Offred also rebels when she accepts Serena’s proposal of sleeping with Nick and she comes to know that eyes, too, are coming to save her as they are going to launch a rebellion against this oppressive regime.
• Love: The theme of love is significant in the novel that Offred often thinks about love when she loses her heart and escapes with Nick only due to her love. She also sees that it is a source of strength for her more than her colleague, Moira, or another handmaid, Ofglen. This is her love for her daughter and mother that keeps her alive in this oppression.
• Research and Storytelling: The novel shows that story could be told from a future perspective embedded in historical research. The prologue that is actually an abstract of the symposium shows that the storytelling could be made convincing by using research or likely future research about something. The remarks of Professor James Pieixoto show that this could have been real.

Major Characters The Handmaid’s Tale

• Offred: Living in the new regime of Gilead, Offred is the narrator and the main protagonist on account of the role allotted to her, as she is declared a “wanton” lady due to her previous lifestyle. Her separation from her family during her escape has transformed her into a handmaid of the Commander to live with the family including his wife, Serena, who later joins hands with her to let her copulate with Nick, their driver. As a slave name, her name connotes not only her role but also her relationship with the Commander to work as a reproduction tool for him. She narrates her story in flashbacks, including her impressions of the past and the present and the secrets of her life. As she knows the inner working of Gilead, she also knows that ‘The Eyes’ are on her to stop the Mayday, though when she senses that she is going to be caught soon, she comes to know that even the eyes are part of the Mayday. It is revealed by the end that her real name is June, but the author implies that it is left to the readers to make assumptions.
• The Commander: The Commander is one of the elite members of the Gilead establishment with a handmaid, Offred, the narrator, and his wife, Serene Joy, who connives with Offred to let her copulate with their drive. It transpires that he has been a scientist in his pre-Gilead days and has been involved in setting up the new regime. Despite his post and the ban on intellectualism, he has been involved in the word games with Offred, his handmaid with whom he is supposed to have sex for reproduction. Although Professor James Peixote speculates about his name as Fred or Frederic R., it is not sure whether he is the same person. His role in the novel is limited to his relationship with Offred.
• Ofglen: As the friend and comrade of handmaids, Ofglen is her neighbor and visits Offred often to console her about their situations. As she is a member of the resistance movement called Mayday, she is also expected to police Offred and others on account of the roles they have been allotted in Gilead. Although she is a handmaid, she is bold enough to kill a spy to stop his pain. She later commits suicide when she is caught on the suspicion of being a spy.
• Serena Joy: Serena Joy is a significant character in the novel on account of her being the wife of the Commander and a former member of the televangelists. The Gilead establishment has robbed her of her former powers and married her to the Commander to keep an eye on him. Offred has identified her role and ruminates about it with her. Although she regularly takes part in the Ceremony, a monthly ritual going on in the Gilead to make the handmaids pregnant, she also connives with Offred to sleep with Nick to make Offred pregnant, knowing that her husband is infertile.
• Moira: A close former friend of Offred, Moira appears in the novel when Offred is almost fed up with her routine life. However, her appearance is associated with resistance, as she is caught in her first attempt and disappears in the second. She hates homophobia prevalent in Gilead and appears in Jezebel’s when Offred visits it with the Commander. After that, she disappears from the scene.
• Nick: Although Nick appears for a short time. He lives with the Commander above the garage and is intimate with Offred instead of the Commander, who seems to have become infertile. Despite living with the Commander and having affiliations with the establishment, his ambiguity creates mystery around his character.
• Luke: The significance of Luke lies in his being the husband of Offred in the pre-Gilead social setup. As he has divorced his previous wife, it has become a legal injunction in Gilead due to which Offred becomes a handmaid and an undeclared wife of the Commander. Luke’s daughter is also declared illegitimate. It seems that he has succeeded in his escape to Canada after which he gets no mention in the storyline.
• Aunt Sara and Aunt Elizabeth: Both of these infertile women appear in the tale of the handmaid on frequent occasions, showing them as trainers of the handmaids. Their tasks involve training the ladies to be handmaids and work for the propagation of the human race through selected sex and reproduction.
• Janine: The character of Janine is significant in the novel in that, though, she becomes submissive, still she does not accept her routine life and threatens to overturn it any time.
• Pieixoto: The importance of the character of Pieixoto lies in his appearance in the epilogue to argue the case of the tale whether it is authentic or not. This is added to lend credence to the story of the novel.

Writing Style of The Handmaid’s Tale  

Margret Atwood adopts an introspective and nonlinear writing style for this story of Offred who ruminates on her past and present and compares them through flashbacks of her memory. Although the diction is not fully academic, sometimes as in the epilogue, it shows that it is academic, while the interspersed slangs , conversation, and occasional dialogs show it is a real story. The sentence style, structure, and length point out the fictional use of the language to suit the purpose.

Analysis of the Literary Devices in The Handmaid’s Tale

• Action: The main action of the novel comprises the story of Offred working as a handmaid. The falling action occurs when Serena Joy, the wife of the Commander, comes to know about Offred going to the club, while the rising action occurs when Offred sees that the eyes are coming not to arrest her but to help her.
• Anaphora : The novel shows examples of anaphora such as, i. A window, two white curtains. Under the window, a window seat with a little cushion. When the window is partly open – it only opens partly – the air can come in and make the curtains move. I can sit in the chair, or on the window seat, hands folded, and watch this. Sunlight comes in through the window too, and falls on the floor, which is made of wood, in narrow strips, highly polished. (Chapter-2) ii. Leave it on the porch. She said this to the Guardian, who was carrying my bag. The bag was red vinyl and not large. There was another bag, with the winter cloak and heavier dresses, but that would be coming later. (Chapter-3) iii. Perhaps he was merely being friendly. Perhaps he saw the look on my face and mistook it for something else. Really what I wanted was the cigarette. Perhaps it was a test, to see what I would do. Perhaps he is an Eye. (Chapter-4) The examples show the repetitious use of “window”, “my bag” and “Perhaps” to show the use of anaphora.
• Alliteration : The Handmaid’s Tale uses alliteration in few places which is more common in poems . For examples, i. We stood face to face for the first time five weeks ago, when I arrived at this posting. The Guardian from the previous posting brought me to the front door. (Chapter-3) ii. I would like to steal something from this room. I would like to take some small thing, the scrolled ashtray, the little silver pillbox from the mantel perhaps. (Chapter-14) Both of these examples from the novel show the use of consonant sounds such as the sound of /f/ and /s/ occurring after an interval to make the prose melodious and rhythmic.
• Allusion : The novel shows good use of different allusions as given in the below examples, i. She’s in her usual Martha’s dress, which is dull green, like a surgeon’s gown of the time before. The dress is much like mine in shape, long and concealing, but with a bib apron over it and without the white wings and the veil. She puts the veil on to go outside, but nobody much cares who sees the face of a Martha. (Chapter-2) ii. Sometimes when I couldn’t find any I would watch the Growing Souls Gospel Hour, where they would tell Bible stories for children and sing hymns . (Chapter-3) iii. It said In God We Trust . My mother said people used to have signs beside their cash registers, for a joke: In God We Trust, All Others Pay Cash . That would be blasphemy now . (Chapter-28) The first example shows the reference to the Biblical story of Martha, the second to the Gospel, and the third to the American official motto of Florida state.
• Antagonist : The Gilead regime is the antagonist of the novel as it engulfs everything in it, including women and the elite class that runs it.
• Conflict : The novel shows both external and internal conflicts. The external conflict is going on between the handmaids’ desire for freedom and Gilead’s oppression, while the internal conflict is going on in the mind of Offred about her responsibilities and her role in the freedom movement.
• Characters: The novel shows both static as well as dynamic characters. The protagonist, Offred, is a dynamic character as she shows a considerable transformation in her behavior and conduct by the end of the novel. However, all other characters are static as they do not show or witness any transformation such as the Commander, Nick, Luke, or Serene Joy.
• Climax : The climax of the novel occurs when Offred comes to know that Ofglen has committed suicide instead of facing arrest.
• Epigraphs : The novel has used three epigraphs as given below, i. And she said, Behold my maid Bilhah, go in unto her; and she shall bear upon my knees, that I may also have children by her. – Genesis, 30:1-3 ii. But as to myself, having been wearied out for many years with offering vain, idle, visionary thoughts, and at length utterly despairing of success, I fortunately fell upon this proposal … – Jonathan Swift , A Modest Proposal iii. In the desert there is no sign that says, Thou shalt not eat stones. – Sufi proverb These three examples show the use of epigraphs borrowed from different classics. The first one is from the Bible, the second from an essay by Swift, and the third is from some mystic’s writings.
• Hyperbole : The novel shows various examples of hyperboles such as its own future story as well as the epilogue such as, i. Sometimes, though, the movie would be what Aunt Lydia called an Unwoman documentary. (Chapter-20) ii. The man went inside with our passports, after we’d explained about the picnic and he’d glanced into the car and seen our daughter asleep, in her zoo of mangy animals . (Chapter-35) Both of these examples exaggerate things as the documentary to be unwoman and men going inside the passport.
• Imagery : The Handmaid’s Tale shows the use of imagery such as, i. These two are very young: one moustache is still sparse, one face is still blotchy. Their youth is touching, but I know I can’t be deceived by it. The young ones are often the most dangerous, the most fanatical, the jumpiest with their guns. (Chapter-4) ii. A small thin woman, she lies on the floor, in a white cotton nightgown, her greying hair spreading like mildew over the rug; they massage her tiny belly, just as if she’s really about to give birth herself. (Chapter-20) These two examples show images of color and touch.
• Metaphor : The Handmaid’s Tale shows good use of various metaphors as given in the examples below, i. The car is a very expensive one, a Whirlwind; better than the Chariot, much better than the chunky, practical Behemoth. (Chapter-4) ii. Nevertheless Moira was our fantasy . We hugged her to us, she was with us in secret, a giggle; she was lava beneath the crust of daily life. (Chapter-22) These examples show that several things have been compared directly in the novel such as the first shows comparing a car to a whirlwind, and the second Moira to a giggle.
• Mood : The novel shows various moods; it starts with a dark tone and move to become ironic and satirizing but ends up causing a sense of fear and terror.
• Motif : Most important motifs of the novel are religion, rape, sexual violence, and reproduction.
• Narrator : The novel, The Handmaid’s Tale, is narrated by Offred (first-person point of view ), who is also the protagonist. The novel starts with her and ends with her experiences and journey.
• Personification : The novel shows examples of personifications such as, i. Sunlight comes in through the window too, and falls on the floor, which is made of wood, in narrow strips, highly polished. (Chapter-2) ii. The carpet bends and goes down the front staircase and I go with it. (Chapter-3) iii. Two lines led downwards from the corners of her mouth; between them was her chin, clenched like a fist. (Chapter-3) iv. The sun is coming weakly through the clouds , the smell of wet grass warming up is in the air. (Chapter-22) These examples show as if the sunlight, carpet, lines, and the sun having life and emotions of their own.
• Protagonist : Offred is the protagonist of the novel. The novel starts with her entry into the story and moves forward as narrates her tale.
• Rhetorical Questions : The novel shows good use of rhetorical questions at several places such as, i. I drop my head and turn so that the white wings hide my face, and keep walking. He’s just taken a risk , but for what? What if I were to report him? (Chapter-4) ii. What if I were to come at night, when he’s on duty alone – though he would never be allowed such solitude – and permit him beyond my white wings? What if I were to peel off my red shroud and show myself to him, to them, by the uncertain light of the lanterns?  (Chapter-5) This example shows the use of rhetorical questions posed but different characters not to elicit answers but to stress upon the underlined idea.
• Setting : The setting of the novel is a fictional city in the United States that is now called the Republic of Gilead.
• Simile : The novel shows excellent use of various similes such as, i. The pregnant woman’s belly is like a huge fruit. Humungous , word of my childhood. (5) ii. It makes the men look like dolls on which faces have not yet been painted; like scarecrows, which in a way is what they are, since they are meant to scare. (Chapter-6) iii. You’ve killed her, I said. She looked like an angel, solemn, compact, made of air. (Chapter-7) These are similes as the use of the word “like” shows the comparison between different things such as between the belly and fruit, then men and dolls, and then the lady and an angel.

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Article written by Emma Baldwin

B.A. in English, B.F.A. in Fine Art, and B.A. in Art Histories from East Carolina University.

It is built around the themes of oppression/rebellion, gender roles, and religion, in addition to rebellion/hope. Other less obvious themes are storytelling and love.

The Handmaid’s Tale Themes

Storytelling.

Although it is less obvious than some of the themes in the novel, storytelling is quite important. The story is structured with Offred’s telling of her life in Gilead at the center . There are a few moments in which Offred reminds the reader of this fact, such as when she considers if anyone is ever going to hear her story. This theme is reinforced at the end of the story when Atwood concludes with “ Historical Notes on the Handmaid’s Tale ”. Here, the professor regards Offred’s story as something very much of the past, but the words he uses and a joke he tells remind the reader that it might not be so far distant.

Additionally, there is the title of the book itself, The Handmaid’s Tale . It is an allusion to Chaucer’s Canterbury Tales and the various “tales” that make it up. 

Oppression/Rebellion

If a story is going to make use of one of these themes, it is likely only going to be successful if it uses the other. The women, in all levels of Gilead’s society, are repressed at some level. This does not exclude the wives of the Commanders. The stories that Atwood fears in this novel, through Offred’s narration , are based around the desire to rebel or the act of rebellion itself. For example, Moira’s escape from the Red Center and Ofglen’s work with Mayday. Offred rebels in her own, less obvious way as well. She develops a relationship with Nick and brakes the rules with the Commander. 

Gender Roles 

No discussion of The Handmaid’s Tale would be complete without understanding the importance of gender roles in Gilead’s society. The government is a theocracy, based around religion, and they use that religion as an excuse to oppress and control the women who live within it. The hierarchy in their world is incredibly important. Women have lost control of their bank accounts, their homes, their families, and, most importantly, their bodies. There is a passage in the novel in which the Commander describes to Offred why Gilead was formed and what it was about feminism that offended the male population so fundamentally. He creates an excuse for controlling the women around him, although one he appears to believe, about how he felt as though he lost his purpose in life as a provider and protector.

Analysis of Key Moments in The Handmaid’s Tale

• Offred arrives at Fred and Serena Joy’s home to become their new Handmaid. 
• Offred goes shopping with Ofglen; Nick winks at her. 
• Offred and Ofglen see the Japanese tourists. 
• They go to the Wall where bodies of traitors are displayed. 
• Offred remembers Aunt Lydia’s words at the Red Center. 
• She spends time recalling her own life and Nick breaks the rules by speaking to her. 
• Offred recalls going to the doctor. 
• They participate in the Ceremony. 
• Offred steals a daffodil from downstairs and leaves it pressed under her mattress. 
• She kisses Nick and he tells her that the Commander wants to see her tomorrow in his office. 
• Offred worries about what happened to her husband, Luke. 
• Offred and the other Handmaids attend a birth and she recalls Moira’s escape. 
• The Commander and Offred play Scrabble in his office. He asks her to kiss him. 
• Ofglen tells Offred about Mayday. 
• The Commander gives Offred a magazine to read. 
• Offred recalls attempting to escape with Luke. 
• The Commander explains his feelings about gender roles to Offred. 
• The Commander takes Offred to the club for commanders. They have sex; she sees Moira. 
• Serena takes Offred to Nick so that they might have sex and conceive a child. 
• A Salvaging occurs and Ofglen disappears. 
• Serena discovers Offred went to the club with the Commander.
• Nick tells Offred that the resistance is there to take her away. 
• The Historical Notes from Professor Pieixoto conclude the novel. 

Style, Tone and Figurative Language 

The tone throughout The Handmaid’s Tale is bleak. Hope and happiness are few are far between and Offred only just makes it from day to day in her life. The entirety of her independence has been striped away from her. There are moments of nostalgia as well when Offred pines for the past and the family she used to have. 

Throughout the novel, Margaret Atwood uses a nonlinear style of writing. She jumps between the main narrative, that of Offred in Gilead, and Offred’s accounts of the past. These flashbacks provide the reader with the information they need to understand how Offred got to where she is and what happened to her family. The novel is also quite introspective. Offred spends a great deal of time analyzing her own emotions and intentions. She often thinks about the past and wonders what kind o future she’s going to have. 

In regards to figurative language, Atwood uses metaphors and similes throughout the novel in order to create the most poignant images she could. One of the most noteworthy is on page ninety-six when Offred says “We are containers, it’s only the inside of our bodies that are important” . 

Additionally, Atwood uses numerous examples of allusion. She crafted much of the novel around Biblical principles of how a woman should act. There are also quotes from the Old Testament and direct references to stories. (Such as that of Rachel and Leah). Foreshadowing and repetition are also present in the novel.

Analysis of Symbols 

The color red is one of the most important symbols in the novel. It appears throughout the story associated with the Handmaid’s, shame, sex/passion, as well as fertility. Offred even notices it, referring to it as “blood” and connecting it to the violence that Gilead creates. The color appears in the Handmaid’s clothes as well as in Serena’s garden. The tulips are also red.

Makeup is a complex symbol in the novel. It at once symbolizes felinity and the lost freedom that Offred longs for as well as control. The Commander, on the other hand, sees the women as having been liberated from makeup. They no longer have to wear it, nor do they have to think about their appearance. But, despite this, he gives Offred makeup to where to the hotel. Although Offred is not given makeup or even lotion, she does the best she can to take care of herself. She uses butter on occasion to moisturize her skin. 

Harvard University 

The University is one of the less obvious symbols in the novel. It has been transformed into a detention center out of which the Eyes, Gilead’s secret police, operate. There, bodies hang off the walls that surround the college. The Eyes even put on mass executions in front of the library. Harvard exists as a juxtaposition between the world as it used to be and the world that Gilead created. 

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About Emma Baldwin

Emma Baldwin, a graduate of East Carolina University, has a deep-rooted passion for literature. She serves as a key contributor to the Book Analysis team with years of experience.

About the Book

Margaret Atwood

Margaret Atwood has written numerous novels, essays, collections of poetry, and even graphic novels.  She is considered to be one of Canada’s best and most popular writers.

Atwood Facts

Explore ten of the most interesting facts about Atwood's life, habits, and passions.

Atwood's Best Books

Explore the ten best books Atwood wrote.

Atwood, the Feminist and Enviromentalist

When you say the name “Margaret Atwood,” it is likely that images of women in red gowns and white bonnets and the near future come to mind.

The canoe glides, carrying the two of us, around past the leaning trees . . . The direction is clear, I see I’ve been planning this, for how long I can’t tell. Margaret Atwood

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The Art of Becoming Ordinary: An Analysis of The Handmaid’s Tale

By kaity sharp '14.

Literature by Women

For this assignment, students were to write a paper focusing on an important theme in Margaret Atwood’s novel, The Handmaid’s Tale. Kaity is an accomplished writer, and I could have submitted any of the papers she has written for Literature by Women. Her paper on The Handmaid’s Tale stood out for the clarity of her argument and her choice of the theme of how the dystopia of Gilead succeeds in becoming “ordinary.”

“‘Ordinary,’ said Aunt Lydia, ‘is what you are used to. This may not seem ordinary to you now, but after a time it will. It will become ordinary’” (Atwood 45). In Margaret Atwood’s The Handmaid’s Tale, the Republic of Gilead initially appears to be anything but ordinary. The United States no longer exists and in its place is a new totalitarian government in which every person is valued (or unvalued) for the specific role they play in society. A Handmaid like Offred, for example, is only valued for her womb because reproduction is her only purpose. Women in general have lost all of their civil rights. In fact, they are not even supposed to have desires. A new language with terms like “Particicution,” “Unwomen,” and “Econowives” has developed. People are hanged publically for being homosexual, belonging to a certain religious group, or disobeying the rules that come with their roles. “Ordinary” isn’t a word that seems to accurately describe the dystopia of Gilead. However, according to Aunt Lydia, “ordinary” is simply “what you are used to.” These words come back to Offred as she is looking at the lifeless bodies hung upon the Wall for the citizens to see. How could something so terrible ever become ordinary? Yet as she looks at the hanging corpses, all Offred feels toward them is “blankness” (Atwood 44). She is already attempting to get used to this new life. Atwood makes the reader believe that a dystopia like Gilead could ultimately succeed in becoming “ordinary” because it is structured so that people will be complacent for a little compensation, it is easier for them to be ignorant of the horror and forget, and future generations will not know any differently.

Gilead stays in control for a number of reasons. As Shirley Neuman writes, “[Atwood’s] Gileadean government maintains its power by means of surveillance, suppression of information, ‘re-education’ centres, and totalitarian violence”(Neuman 1). With its harsh punishments for breaking the rules, Gilead forces its citizens to be complacent by using their fears against them. Small resistances will never work because the government can easily torture and kill these resistors, therefore scaring the others into obedience. Offred eventually learns that she cannot even expect the strongest, like her mother and Moira, to succeed in their individual resistances when she does not have the courage herself to rebel: “And how can I expect [Moira] to go on, with my idea of her courage, live it through, act it out, when I myself do not?” (Atwood 324).

Although Gilead succeeds by forcing its citizens into complacency through violence, perhaps a less evident but even more important way it works is by rewarding those that are complacent with small freedoms. “Humanity is so adaptable,” Offred remembers her mother saying. “Truly amazing, what people can get used to, as long as there are a few compensations” (Atwood 349). This statement pertains to many of the major characters in the novel. If ordinary is simply “what you are used to,” and Offred’s mother’s statement is correct, this means that people will be willing to adapt and consider something ordinary in exchange for “a few compensations.” Perhaps that is why the Aunts, like Aunt Lydia, are willing to take part in the preservation of Gilead, even though this life isn’t easy for them, either (Atwood 74). Maybe that is why Wives like Serena Joy allow their Handmaids to become pregnant by their husbands, despite terribly jealous feelings. They all get a little compensation, a little freedom or power in return. Men were the primary creators of Gilead, but women like the Aunts are equally responsible for keeping the totalitarian government running. As Aunt Lydia occasionally hints, the Aunts are not particularly happy with their jobs in Gilead, yet they contribute to its existence because of the special perks they receive. They are the only class of women allowed to read, and although they are older and infertile, their positions as Aunts prevent them from being shipped off to the dreaded colonies. The Wives’ high statuses also give them this security and more freedoms, which is why they, too, choose to be complacent and put up with the Handmaids. As Offred’s mother suggests, people will “get used to” something out of the ordinary if they get something in return. Gilead works as a whole because its citizens are willing to adapt to their roles in society in exchange for the minor benefits and protections they receive.

Sarah Shimon, “Untitled,” Acrylic on Masonite, 4’ x 2’

In the beginning of the novel, Offred isn’t ready to adapt to her role in society. Throughout the story she is constantly reflecting on the way things were, as if reminding herself that there was a time when life was different, when it was better. Her life as a Handmaid is especially difficult because she remembers her past and is aware of how drastically everything has changed. Even the Aunts understand this: “You are a transitional generation, said Aunt Lydia. It is the hardest for you. We know the sacrifices you are being expected to make” (Atwood 151). Offred and the other Handmaids know that life could be better for women because they once lived in a time when it was. However, for future generations, life in Gilead will be all that they know. They will not have to adjust like Offred did; therefore, life may be a little more bearable: “For the ones who come after you, it will be easier. They will accept their duties with willing hearts” (Atwood 151). When Aunt Lydia explains this, Offred notices that “She did not say: Because they will have no memory of any other way. She said: Because they won’t want the things they can’t have” (Atwood 151). Offred knows that life in Gilead will become ordinary in the future because people will not remember it any other way, but Aunt Lydia implies that the “wanting” is the main problem with Offred’s generation. Most of them do want what they cannot have—the freedoms of their lives before Gilead. As Offred says later in the novel, “To want is to have a weakness” (Atwood 152). Yet she continues to be weakened by everything she wants. She wants to bicker with her husband Luke, she wants to go to the Laundromat, she wants to laugh with Moira, she wants her daughter back. She wants to believe that she is telling a story, because if she is, then “[she has] control over the ending” (Atwood 52). If it is a story, there will actually be an ending and “real life will come after it” (Atwood 52). But part of her knows that what is happening is real, and she can’t change it. She must simply hold onto her memories of the past and hope for a better future. Offred constantly thinks of Luke and Moira and of her daughter and mother because remembering them reminds her that they did exist and that maybe they still do: “I try to conjure, to raise my own spirits, from wherever they are. I need to remember what they look like. I try to hold them still behind my eyes, their faces, like pictures in an album” (Atwood 250). But as her new life becomes more and more ordinary, her memories of her old life begin to disappear: “But they fade, though I stretch out my arms towards them, they slip away from me, ghosts at daybreak…It’s my fault. I am forgetting too much” (Atwood 250). Even Offred, part of the “transitional generation,” begins to forget. Her ability to remember a life before Gilead is what will make her different from future generations, but even this is slipping away. She must continue to want a new life. “Wanting” could be considered a weakness, but it is also precisely what prevents the horrors of Gilead from becoming ordinary. For as we see toward the end of the novel, once Offred stops wanting her old life, she becomes more complacent with the one she has.

Toward the end of the novel, even Offred, our protagonist, falters and begins to accept her life in Gilead for a little compensation. The more she gains from her situation, the less she wants it to change. After she starts her secret affair with Nick, she feels a connection with another person again and will do anything to keep it. Offred knows that their relationship puts her in an extreme amount of danger, but she is “beyond caring” (Atwood 347). She begins to lose her previous desire to take part in the resistance and is actually comforted when Ofglen stops pressing her for information: “Ofglen is giving up on me. She whispers less, talks more about the weather. I do not feel regret about this. I feel relief” (Atwood 149). In a way, Offred gives up on herself. She has been worn down, and now all it takes is a little compensation to make her give up her fight. Although she is “ashamed” to admit it, she doesn’t want to escape anymore: “The fact is I no longer want to leave, escape, cross the border to freedom. I want to be here, with Nick…” (Atwood 348).

In her article “’Just a Backlash’: Margaret Atwood, Feminism, and The Handmaid’s Tale” Shirley Neuman argues that, “[Offred’s] affair with Nick marks a relapse into willed ignorance” (Neuman 5). This “willed ignorance” is what helped create Gilead in the first place. In pre-Gilead times, Offred and other women chose to ignore the terrible stories of things happening around them because they were not directly involved. This choice to ignore is the “willed ignorance” Neuman suggests. As Offred says, “We lived, as usual, by ignoring. Ignoring isn’t the same as ignorance, you have to work at it” (Atwood 74). They didn’t want to believe what was going on so they simply “lived in the gaps between the stories”(Atwood 74). It was easier this way. Neuman explains that Offred quickly learns about the importance of paying attention in Gilead, and “…early on in the novel, she is alert to every detail around her.” However in the end, her affair with Nick causes “a relapse into willed ignorance” that leads to her uncertain fate. When Offred stops caring, stops wanting change, and starts ignoring what is happening around her, she is in danger of making her life in Gilead “ordinary.”

At first glance, it does not seem as though the Republic of Gilead could ever be considered ordinary. Many humans are not treated as humans in this dystopia, and its violent methods of control are very extreme. However, Atwood succeeds in making Aunt Lydia’s words about Gilead becoming ordinary ring true. For something to become ordinary, people must get used to it. Future generations of Gilead will already be used to the way it is structured because they will not know any differently. Offred’s generation, however, does know the difference because they have lived in a different type of world. Yet, they choose to get used to their new lives in exchange for a little freedom, power, or other minor compensations. After seeing their hopes dashed time and time again, even characters like Offred decide it is easier to become willfully ignorant of the horror happening and accept life for what it is. Gilead should not be considered ordinary, but Margaret Atwood succeeds in making the reader believe that “ordinary” is exactly what the dystopia of Gilead could become.

Works Cited

Atwood, Margaret. The Handmaid’s Tale. Boston: Houghton Mifflin, 1986. Print.

Neuman, Shirley. “’Just a Backlash’: Margaret Atwood, Feminism, and The Handmaid’s Tale.” University of Toronto Quarterly 75.3 (summer 2006): 857-68. Contemporary Literary Criticism. Web. 29 Nov. 2010.

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A-Level English With Miss Huttlestone

A FULL MARK ‘The Handmaid’s Tale’ Essay

The following essay, penned by Heidi in year 12, captures the essence of the top band – it is developed, has true voice, and supports each ambitious idea with extensive textual evidence. Heidi’s knowledge of theorists, and her passion for debate adds enviable flair to the response .

‘The Handmaid’s Tale’ is not primarily about the suppression of women but about their defiance. To what extent to you agree?

‘The Handmaid’s Tale’ is a piece of speculative fiction about both the extensive oppression of women and their attempts to defy it, however their attempts exist in accordance with the misogyny that existed in the time before Gilead and this greatly limits the effectiveness of it. As philosopher Christopher Lasch would say, their protest is incurvatus in se or turned inward. This means that the protest throughout the narrative is lacklustre and far more about the actualisation of the self than the organised movement against total oppression. Atwood’s writing in the era of Reganism, where the rights of women were being pushed back against and thus the narrative reflects the internalised misogyny that each woman possessed via social conditioning that lowers one’s ability to protest effectively. Characters who defy do so by becoming more masculine as the culture hegemonic standard is that men are strong, and women are weak that existed long before Gilead came to be. Atwood seems to say with the lack of effective protest that the suppression of women existed before, it harmed women before, and it will continue to do so unless far greater pushback is made.

Firstly, the character of Serena Joy is created such that her defiance comes from her personal brutality and masculinisation of the self. She is a character who smokes, a recurring motif seen in all protesting characters, however smoking itself is seen as a masculine trait throughout history, with instances such as the Nazi regime totally banning smoking for women when they came to power. Further, the image of a cigarette is incredibly phallic, and the fact that this phallus is used as a semiotic representor of protest reflects the nature of such an act for women. They see no other alternative but this masculine object to use as their defiance, the social conditioning from year of demonisation of feminine power stemming long before Gilead has run so deeply into the psyche that the characters look for a phallic object to protest using. Serena, in her smoking is described by Offred by putting ‘the cigarette out, half-smoked, decisively one jab and one grind’, this imagery is violent, it is the pressing of the cigarette downwards and crushing of its end. The use of the repetition of the determiner ‘one’ creates the imagery of conclusion, she has done this action before and she is used to pushing the cigarette out, she needs no further courses of action. These traits embody the stereotypical masculine, she has decisiveness and not the stereotypical questioning femininity that has been so greatly propounded by wider society. This line also relates to Offred later recognition that she must ‘steel herself’ when partaking in the ceremony, Serena seems steely here, she seems solid, she seems in practise and almost robotic. Further, the way Serena acts is told to be opposing those in in the same social class as her and Offred goes on to say that they ways she puts out her own cigarette is different to the ‘many series of genteel taps favoured by many wives’. Not only does this quote indicate that there is protest and the taking up of black-market objects across the female hierarchy, but it separates Serena and solidifies her as a far more masculine and expectation defiant character. The other wives are dainty and adhere to gender norms that were present pre-Gilead, their actions are graceful and ladylike, they are far more the ‘Angel in the House’ than Serena seems to be. In addition to this, to tap a cigarette is to remove the ash, presumably a fully smoked one, since the Wives cannot work they are reliant on their husbands for the money to buy the black-market cigarettes, yet Serena disrespects this, her cigarette is wasted. She defies the view of ‘waste not want not’. Atwood has stated previously that there are droughts and struggles to get things into the regime, but Serena does not care, her protest here is one of apathy. She removes herself from the feminine doting stereotype who cares over all small details. The character of Serena Joy is one of two opposing sides, on the one hand she is the defiant strong masculine woman who acts aggressively and appositionally, yet her protest is about becoming a man more than it is becoming a defiant individual. She is far more preoccupied with masculinising herself to remove from the expectation of women than fostering true escape from Gilead. This makes her character one entangled with both the suppression of women and the feminine and the defiance of expectation. 

Moreover, ‘The Handmaid’s Tale’ presents the extent that misogyny invades the self through the internalisation of Gileadean and pre-Gileadean ideas of women and stereotypes. Throughout the novel, the ideas of Gilead are presented through the character Aunt Lydia, who remains a construct within the mind of Offred until the near end of the book. In turning the character in to a construction, Atwood is able to expertly show just how pervasive and condemning misogyny is to the minds of women, just how easily it finds itself inside the heads of those it infects. She uses no quotation marks around Aunt Lydia’s remarks to emphasise the degree at which it has been absorbed into each person. ‘Yours is a position of honour, she said’ is something Offred repeats in her internal narrative within the story. This idea has embedded itself in the protagonist and she speaks of how her ‘flesh arranges itself differently’ and she is less a woman and more of a ‘cloud’. Through this metaphorical imagery, the reader is shown the degree at which Gilead breaks the psyche of women. Offred is within Gilead to the point at which it ahs changed her flesh entirely and is no longer herself, no longer bodily autonomous. To include this detail, Atwood creates the impression that the ideas of the patriarchy imbed themselves so deeply within the women subjected to them that they gain the ability to almost change their existence and self-perception entirely. A feminist reader would conclude from this that the character of Offred is one afflicted with internalised misogyny, she becomes her own oppressor and the oppressor of those around her due to her social conditioning. This is backed up by the recollection of a session within the Red Centre that was reflective of the struggle sessions of Maoist China where in abuse was shouted at a central, labelled dissident – in this case Janine. She says that ‘We meant it’, the ‘it’ in reference to the psychological attacks levied against the rape victim, yet she refuses to label it such due to well-placed shame, replacing it with a mediator, replacing it with the innocent and decent sounding ‘it’, she attempts to remove herself from her own actions. In using a collective pronoun, she is implicating the entirety of the Handmaidens who were with her in this abuse, she acts as though she understands their thoughts and in many ways she likely does as they were all put through the same cycle of abuse. It also creates the idea of togetherness and sisterhood; however, this is sisterhood that has been manufactured by the state to abuse someone, it is sisterhood that exists because of women coming together to attack another. So often in the modern media, women are pitted against one another and there seems a great manipulation to make them hate each other. This sisterhood is contrived, it is there because Gilead understands that they must give these women a slight amount of togetherness, so long as it is to attack another individual. This defiance here is a reflection of the patriarchy.

Despite this internalisation, there are many instances of the creation of distinction between us and them within the narrative. Although much of what Aunt Lydia has told Offred is presented uncommented on and internalised, we are still seen some instances of the opposition to her word such as the criticism of her cherry picking of the Bible verse ‘Blessed are the meek’ and her decision to not ‘go on to say anything about inheriting the earth’. The Bible verse blessed are the meek was debated in DH Lawrence’s novel ‘The Rainbow’ wherein his defiant female Ursula character criticized the term due to the connotation it holds that you must be poor and weak to be ‘blessed’ by God. Her character believed that this term is used to satiate the poor and those in unfortunate positions. In many ways, Aunt Lydia’s statement of this term represents that, she is trying to say that the women are weak and must stay ‘meek’ to be drawn under God’s Grace, however Offred unpicks this and criticizes her use of the term in the fact it has so clearly been cherry picked for this purpose. It is meant to satiate the handmaids, lower their drive to protest and suppress them. Yet in Offred educated background she is aware that this is not the full quote and defies expectation by finishing it herself. A reader may believe that this means she sees a life outside of Gilead, that she believes she will ‘inherit the earth’, or rather there will be some form of balance restored. The use of ‘they’ within this recital also indicates a belief in a collective of Handmaids that will work to subvert the rule of Gilead, she does not talk about herself here and rather talks about a collective of the ‘meek’ who shall take over and repossess what they have been stripped of. Further, this idea of the collective ‘meek’ being together is emphasised in the idea that comes after Ofglen’s taking of Offred into the resistance. Offred thinks ‘there is an us then, there is a we’ before going onto say ‘what about them’. These three collective pronouns create the idea that there are two groups of people in Offred’s mind and that she is separate from the regime and its agents. The ‘them’ is in reference to the state actors that exist within Gilead and their violence. Offred separates herself from the violence in the recognition of a ‘them’, she is no longer a part of what has placed others on a wall, what has murdered those around her because she is able to self-actualise and join a group, to join a ‘we’, to join an ‘us’. and while this sentiment is incredible, it is short lived and just a few pages onward Offred reverts to the personal. The chapter ends with the pronoun ‘me’ in Offred joy that she was not taken away by the Eyes. This is a sad reflection that relates to the thesis that protest within Gilead is protest governed by laws of self-actualisation and not true revolutionary action. Offred creates an ‘us’, joins it, and, due to social conditioning, leaves it at the first sign of struggle.  

Finally, the way protest within the novel creates itself is in line with the concept of inward protest rather than outward revolutionary action. This is called incurvatus in se in the words of Christopher Lasch and generally forms itself in the self-actualisation over active opposition against injustice. One example of this is the stealing of a ‘withered daffodil’ from the kitchen by Offred. The daffodil is named after the Greek myth of narcissus and semiotically reflects narcissism. For Atwood to specify this flowers breed she creates the impression that what Offred is doing is to oppose standards of beauty set out by Gilead. However, a Laschian reader would take this symbol far differently. The fact that her protest is the taking of a symbol of narcissism is a reflection of the inability to protest non-narcissistically created in the 1980s during the creation of neo-liberalism. This phenomena praised the individuals actions over anything else and thus the individual saw themselves as more important than the collective group. Atwood, writing at a time where neoliberalism was being created, places her character past in the same time line as her own and thus Offred is afflicted by the same hegemonic standard. Offred exhibits much of the narcissistic tendencies that are noted by Lasch, namely the taking without much real action and what little action that does take place being to self-actualise. Her decision to take the Daffodil was arrived at because it ‘will not be missed’, this is an example of ‘meek’ defiance, and the aforementioned internalisation of such a thing. We have seen how Aunt Lydia wanted the handmaids to be ‘meek’ and Offred still acts in this way, she still internalises her message. The daffodil is ‘withered’, it is presumably about to be thrown out, it is dying. And Offred recognises this and takes it, because this protest is about self-actualising more than it is protest. 

Overall, ‘The Handmaid’s Tale’ is a novel that cannot be split into the suppression of women and their defiance. It must be viewed as a conjunction of the two; how the suppression of women harms their protest, how the protest of women changes their suppression. These two concepts exist in symbiosis, the protest of the female characters is in accordance to hegemonic weakening female stereotypes, the women are forced to internalise ideas about their own gender that are near impossible to refute. 

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Women's Roles in The Handmaid's Tale and The Awakening

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The Theme of Language and Its Power in The Handmaid's Tale

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The Handmaid’s Tale by Margret Atwood: Feminism in The Context of Dystopian World

Language's role in changing social structures in 'the handmaid's tale', the theme of survival and selfishness in the handmaid's tale in 1984, analysis of the archetypes presented in the handmaid's tale, gilead’s betrayal of women in the handmaid’s tale, the complex character of commander in the handmaid's tale, the handmaids tale novel in the historical context, the role and meaning of the titles of the cassete tapes in the handmaid's tale, the handmaid's tale about disempowerment of women, the power of manipulation the handmaid's tale, human rights for women in the handmaid's tale, the role of kindness in the handmaid's tale, moria as a symbol of hope to offred in the handmaid's tale by margaret atwood, a close analysis of gender in the handmaid's tale and a streetcar named desire, the values of dystopian literature: analysis of "the handmaid's tale" and "the road", discussion of whether the handmaid's tale is a feminist text, the role of moira in 'the handmaid's tale', atwood’s presentation of moira in the handmaid's tale, margaret atwood’s the handmaid's tale and the importance of feminism, analysis and plot summary of the handmaid’s tale by margaret atwood.

1985, Margaret Atwood

Novel; Dystopia, speculative fiction, tragedy

Offred, The Commander, Serena Joy, Ofglen, Nick, Moira, Luke, Professor Pieixoto, Aunt Lydia, Cora

One of the key influences for "Handmaid's Tale" is the feminist movement and women's rights activism. Atwood explores themes of gender inequality, reproductive rights, and the subjugation of women in a patriarchal society. The novel reflects the author's concerns about the potential consequences of eroding women's rights and the dangers of religious fundamentalism. Additionally, historical events such as the Puritan era in colonial America and the rise of totalitarian regimes contribute to the narrative of "Handmaid's Tale." Atwood draws parallels to these periods to emphasize the dangers of extremist ideologies and the erosion of personal freedoms. The novel also reflects Atwood's observations of social and political trends in her contemporary world, including the feminist backlash and conservative movements.

In a dystopian future, "Handmaid's Tale" portrays a society known as Gilead, where women's rights have been severely restricted. Offred, the protagonist, is a handmaid assigned to a high-ranking Commander and his infertile wife. Her sole purpose is to bear children for them, as procreation rates have drastically declined. Stripped of her identity and reduced to her reproductive capacity, Offred navigates her new reality, where she must conform to strict rules and endure a life of surveillance and oppression. The narrative reveals the suffocating control Gilead exerts over women's bodies and lives, as well as the indoctrination and manipulation used to maintain the regime's power. Through flashbacks and inner reflections, Offred recounts her life before the rise of Gilead and her longing for freedom. She forms clandestine connections with other characters, navigating the intricate web of secrets and betrayals that exist within the society. As Offred navigates the treacherous landscape of Gilead, she becomes entangled in acts of rebellion and defiance against the oppressive regime. The novel explores themes of resistance, identity, and the resilience of the human spirit in the face of extreme adversity.

The setting of "Handmaid's Tale" is a dystopian future known as Gilead, which was once the United States. Gilead is a theocratic society that has emerged after a period of political and social unrest. The novel is primarily set in the fictional city of Gilead, although specific geographic details are sparse. Gilead is a highly controlled and oppressive regime, where strict religious ideologies dictate every aspect of society. The government has taken extreme measures to enforce its authority, subjugating women and stripping them of their rights. The setting is characterized by a pervasive atmosphere of fear, surveillance, and isolation. The physical landscape of Gilead reflects the regime's values and control. Public spaces are heavily regulated, and symbols of power and oppression are prominently displayed. The Handmaids, like Offred, are assigned to live in austere households, known as Commanders' houses, where they are constantly monitored and subjected to a rigid hierarchy.

"Handmaid's Tale" explores several thought-provoking themes that resonate with readers. One prominent theme is the oppression and subjugation of women. In the dystopian society of Gilead, women are reduced to their reproductive capabilities and are subjected to a system that strips them of their autonomy, identity, and agency. This theme highlights the importance of gender equality and the consequences of patriarchal control. Another theme is the power of language and storytelling. The novel demonstrates how language can be manipulated and controlled to shape narratives and maintain social hierarchies. It delves into the ways in which language can be both liberating and oppressive, and how narratives can be used to resist or reinforce systems of power. The theme of resistance is also significant in "Handmaid's Tale." The story follows the protagonist, Offred, as she navigates the oppressive society and seeks moments of rebellion and defiance. It explores the resilience of the human spirit and the capacity for individuals to resist and challenge unjust systems.

One notable device is the use of symbolism. Margaret Atwood skillfully incorporates symbolic elements throughout the narrative to convey deeper meaning. For example, the color red symbolizes both fertility and the loss of freedom for the handmaids. The handmaids' distinctive red robes represent their roles as reproductive vessels and serve as a constant reminder of their subjugation. Another literary device employed in the novel is the use of irony. Atwood uses irony to highlight the stark contrast between the purported intentions of the totalitarian regime in Gilead and the reality of its oppressive nature. The establishment of Gilead is presented as a means to restore order and protect women, yet it perpetuates their marginalization and strips them of their rights. Imagery is another powerful device in "Handmaid's Tale." Atwood's vivid descriptions create a vivid and unsettling visual landscape, allowing readers to immerse themselves in the dystopian world. For instance, the image of the wall, adorned with the bodies of executed rebels, serves as a chilling reminder of the consequences of resistance. Additionally, the narrative structure itself is significant. Atwood employs a nonlinear narrative that moves between past and present, providing glimpses into the protagonist's life before and after Gilead. This narrative device adds depth to the story, allowing for a deeper exploration of Offred's character and the societal changes that led to the rise of Gilead.

One notable representation of "Handmaid's Tale" is the critically acclaimed television series adaptation. Launched in 2017, the series has received widespread acclaim for its faithful depiction of the novel's themes and its chilling portrayal of the totalitarian society of Gilead. The series has garnered numerous awards and nominations, bringing renewed attention to the story and its relevance in contemporary society. Another representation of "Handmaid's Tale" is its presence in academic discussions and literary analyses. The novel has become a staple in literature courses, feminist studies, and dystopian fiction studies, prompting insightful academic conversations about its themes, narrative techniques, and social commentary. Furthermore, "Handmaid's Tale" has inspired artistic interpretations in various mediums. From theater adaptations to art installations, artists have explored and reimagined the novel's themes and imagery, further contributing to its cultural impact.

The influence of "Handmaid's Tale" extends beyond its initial publication, making a profound impact on literature, popular culture, and feminist discourse. Margaret Atwood's dystopian novel has become a touchstone for exploring themes of gender oppression, reproductive rights, and authoritarianism. One significant influence of "Handmaid's Tale" is its contribution to feminist literature. The novel's portrayal of a society that subjugates and controls women's bodies has sparked important discussions about patriarchal power structures and the struggle for women's rights. It has inspired feminist writers to address similar themes and explore the complexities of gender inequality in their own works. The novel's cultural influence is evident in its adaptation into a highly acclaimed television series. The show's popularity has generated widespread conversation, not only about the original story but also about contemporary social and political issues. Furthermore, "Handmaid's Tale" has influenced the discourse on reproductive rights, sparking debates and drawing attention to the importance of bodily autonomy. It has provided a cultural reference point for discussions on the dangers of authoritarianism and the potential erosion of civil liberties.

1. "Handmaid's Tale" has been translated into over 40 languages and has sold millions of copies worldwide since its publication in 1985. 2. The novel has been awarded numerous prestigious literary prizes, including the Governor General's Award for Fiction in Canada and the Arthur C. Clarke Award for Science Fiction. 3. The impact of "Handmaid's Tale" extends beyond literature, as it has become a symbol of resistance and empowerment for marginalized communities. The iconic red cloak and white bonnet worn by the Handmaids have been adopted as symbols of protest in various women's rights demonstrations and political movements, emphasizing the novel's ability to inspire collective action and serve as a visual representation of dissent.

"The Handmaid's Tale" is an important and compelling subject to write an essay about due to its profound exploration of themes that remain relevant in contemporary society. By delving into topics such as gender inequality, reproductive rights, authoritarianism, and the dangers of extremism, the novel prompts critical examination and provokes discussions on pressing social issues. Through its vivid portrayal of a totalitarian society, it challenges readers to confront uncomfortable truths about power dynamics, the oppression of women, and the value of individual freedom. By studying "The Handmaid's Tale," students and scholars can engage in critical discourse, explore complex literary devices, and gain deeper insights into the social, political, and ethical implications of the novel.

"The moment of betrayal is the worst, the moment when you know beyond any doubt that you've been betrayed: that some other human being has wished you that much evil." "We lived, as usual, by ignoring. Ignoring isn't the same as ignorance, you have to work at it." "You can only be jealous of someone who has something you think you ought to have yourself." "We thought we had such problems. How were we to know we were happy?" "You can't help what you feel, but you can help how you behave."

1. Bacci, F. (2017). The Originality of The Handmaid’s Tale and The Children of Men: Religion, Justice, and Feminism in Dystopian Fiction. Metacritic Journal for Comparative Studies and Theory, 3(2), 154-172. (https://www.ceeol.com/search/article-detail?id=594496) 2. Atwood, M. (2017). Margaret Atwood on what ‘The Handmaid’s Tale’means in the age of Trump https://www.nytimes.com/2017/03/10/books/review/margaret-atwood-handmaids-tale-age-of-trump.html. The New York Times, 10. 3. Marghitu, S., & Moore Johnson, K. (2018). Feminist online responses against the US Alt-right: Using The Handmaid’s Tale as a symbol and catalyst of resistance. Communication Culture & Critique, 11(1), 183-185. (https://academic.oup.com/ccc/article-abstract/11/1/183/4953978) 4. DeKeseredy, W., DeKeseredy, A. & DeKeseredy, P. (2021). 6. Understanding The Handmaid’s Tale: The Contribution of Radical Feminism. In J. Grubb & C. Posick (Ed.), Crime TV: Streaming Criminology in Popular Culture (pp. 82-95). New York, USA: New York University Press. (https://www.degruyter.com/document/doi/10.18574/nyu/9781479804368.003.0007/pdf#APA) 5. Bazin, N. T. (1991). Women and revolution in dystopian fiction: Nadine Gordimer's July's People and Margaret Atwood's The Handmaid's Tale. In J. M. Crafton (Ed.), Selected essays: International conference on representing revolution 1989 (pp. 115-127). West Georgia College. (https://digitalcommons.odu.edu/english_fac_pubs/141/) 6. Lois Feuer (1997) The Calculus of Love and Nightmare: The Handmaid's Tale and the Dystopian Tradition, Critique: Studies in Contemporary Fiction, 38:2, 83-95. (https://www.tandfonline.com/doi/abs/10.1080/00111619.1997.10543167?journalCode=vcrt20) 7. Neuman, S. (2006). ‘Just a Backlash’: Margaret Atwood, Feminism, and The Handmaid's Tale. University of Toronto Quarterly, 75(3), 857-868. (https://www.utpjournals.press/doi/abs/10.3138/utq.75.3.857?journalCode=utq) 8. Xie, J. (2021). Symbolism of Flowers in Margaret Atwood’s The Handmaid’s Tale. Open Access Library Journal, 8(7), 1-8. (https://www.scirp.org/journal/paperinformation.aspx?paperid=110737) 9. Staels, H. (1995). Margaret Atwood's The Handmaid's Tale: resistance through narrating. (https://www.tandfonline.com/doi/abs/10.1080/00138389508598988?journalCode=nest20) 10. Miner, M. (1991). " Trust Me": Reading the Romance Plot in Margaret Atwood's The Handmaid's Tale. Twentieth Century Literature, 37(2), 148-168. (https://www.jstor.org/stable/441844)

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Home / Essay Samples / Entertainment / The Handmaid's Tale / Critical Analysis Of The Handmaid’s Tale By Margaret Atwood

Critical Analysis Of The Handmaid’s Tale By Margaret Atwood

• Category: Entertainment
• Topic: The Handmaid's Tale

Pages: 4 (1596 words)

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