The Handmaid's Tale, Margaret Atwood
The Handmaid's Tale Margaret Atwood
(Full name Margaret Eleanor Atwood) Canadian novelist, poet, short story writer, critic, editor, and children's writer.
The following entry presents criticism on Atwood's novel The Handmaid's Tale (1985). For further information on Atwood's life and works, see CLC, Volumes 2, 3, 4, 8, 13, 25, and 84.
A Canadian and feminist writer, Margaret Atwood is internationally acclaimed as an accomplished novelist, poet, short story writer, and literary commentator. Her novel The Handmaid's Tale (1985) is highly regarded as a provocative work of feminist dystopian fiction that examines the cultural construction of female identity, language, and historical memory. Alternately chilling, satirical, and suspenseful, Atwood's cautionary tale portrays the physical and psychological oppression of women under a futuristic totalitarian regime that reduces its female subjects to mere voiceless, childbearing vessels. Presented as the eyewitness recollections of its entrapped heroine, the novel vividly displays the dehumanizing effects of ideological rhetoric, biological reductionism, and linguistic manipulation. Among Atwood's most celebrated works, The Handmaid's Tale displays the author's superior narrative abilities, her distinct poetic voice, and the chief feminist and humanitarian concerns which fascinate her.
Plot and Major Characters
Set sometime during the late twentieth century, The Handmaid's Tale relates events in the Republic of Gilead, a militaristic Christian state that has supplanted the democratic government of the United States after a violent coup d'état. The proliferation of toxic pollution and sexually transmitted diseases in the near future has caused widespread sterility and a decline of Caucasian births. The new ruling male theocracy, situated in Cambridge, Massachusetts, is founded on fundamentalist biblical principles and a social hierarchy designed to promote controlled procreation. The strict moral code of the regime, a reaction against the amorality and permissiveness of the former United States, is enforced by the constant surveillance of Eyes (secret agents), Angels (soldiers), and Guardians (police). Though women in Gilead are prized for their ability to reproduce, they are forbidden to work, own property, or read. A select number of women who are fertile and unmarried are recruited as Handmaids; they wear red habits with white hoods and are assigned to a Commander, a high-ranking government official, and his post-menopausal Wife. The sole function of the Handmaid is to produce children, a task that requires her to engage in ritualized, monthly copulation with the Commander in the presence of his Wife. Beneath the Handmaids in the caste system are Econowives, the spouses of lower class men who wear striped dresses. The remainder of infertile and unmarried women are divided into the following: Marthas, a servant class designated by drab green dresses; Aunts, a cattleprod-wielding corps entrusted with the indoctrination and discipline of the Handmaids; and Unwomen, a group comprised of resistant women who are sent to the embattled Colonies to clean up toxic waste. The Handmaid's Tale revolves around the first-person narrative of Offred, a thirty-three year old woman who is forced into the ranks of the Handmaids after a failed attempt to flee to Canada with her husband, Luke, and their young daughter. Earlier, Offred's mother, an ardent feminist in the old society, was condemned to the Colonies. Following a period of political re-education at the Rachael and Leah Center, a converted gymnasium where the Handmaids are detained and systematically brainwashed by the Aunts, Offred is assigned to a Commander named Fred (the name “Of-Fred” denotes her fealty to Fred) and his wife Serena Joy, a television gospel singer and leading proponent of the new female order. Offred is a replacement for Fred's former Handmaid, Janine, who has committed suicide. Offred's story describes her cloistered existence in the Commander's home, her despair over her lost identity and freedom, and the horrific realities of Gileadean society, including public executions, called “salvagings,” of homosexuals, traitors, and other undesirables whose corpses are displayed on the wall of Harvard Yard. During paired shopping excursions with Ofglen, another Handmaid, Offred learns of the underground movement called Mayday, of which Ofglen is a part. Though initially passive and hopeless, Offred is gradually emboldened by her brief exchanges with Ofglen. Offred also becomes involved in an illicit relationship with Commander Fred, who summons her to his study during the evenings to play Scrabble—a illegal activity since women are condemned to illiteracy. She is compensated with hand lotion and old copies of banned women's magazines. Fred further violates their officially sanctioned relationship by kissing Offred, dressing her in slinky clothing, and taking her out to an underground nightclub called Jezebel's where various Unwomen are assembled for the pleasure of the officers. There Offred reencounters her friend Moira, a lesbian and rebellious former Handmaid-in-training whose failed escape from the Rachael and Leah Center has landed her a role as a prostitute at the club. At home, Offred also enters into a dangerous clandestine relationship with Nick, the Commander's limousine driver, who may have links to both the secret police and underground resistance. Her late-night couplings with Nick are tacitly approved by the Commander's Wife, Serena, in an effort to facilitate a speedy pregnancy after Fred fails to inseminate Offred during their monthly sessions. While Offred is permitted to satisfy her sexual longings with Nick, Serena stands to benefit from the prestige of having a birth in her home, a ceremonious event in itself attended by the Wives and Handmaids. Offred's risky involvements become increasingly perilous and complicated. Serena eventually learns of her unauthorized meetings with Fred and, in the final scene of her narrative, an ominous black van arrives at the Commander's house. Offred is whisked away either to safety with the underground resistance, perhaps arranged by Nick, or to certain death at the hands of the Eyes. A postscript to the novel entitled “Historical Notes on The Handmaid's Tale” reveals that the preceding narrative derives from a transcription of some thirty audiotapes dictated by Offred after her apparent escape. The postscript purports to be an excerpt from the “Twelfth Symposium on Gileadean Studies,” an academic conference held in the year 2195 at the University of Denay, Nunavit, located in northern Canada. The historians in attendance, presided over by keynote speaker Professor James Darcy Pieixoto, have gathered to debate the authenticity and significance of Offred's account, which has been recently discovered by archaeologists in Bangor, Maine.
The Handmaid's Tale is primarily concerned with the problems of ideological extremism, historical interpretation, and most importantly the objectification of women in modern society. As in most dystopian fiction, the future setting merely affords the author an opportunity to illustrate the magnified ill effects of familiar contemporary problems left unchecked. As such, the Republic of Gilead embodies the dangerous potential of religious fanaticism, militarism, and sexism, whereby the Bible is appropriated as a tool of subjugation, democratic freedom is replaced by brutal coercion, and women are reduced to a strictly biological role as “two-legged wombs.” The biblical foundation of Gilead evokes parallels between America's New England Puritan past and the evangelical Christianity of the contemporary Moral Majority. Biblical names and allusions permeate the text and the literal interpretation of Genesis 30:1-3, in which Jacob employs his wife's handmaid as a surrogate to produce children, forms the basis of Gileadean ideology. Orchestrated public events such as Prayvaganzas and the production of computerized prayers called “soul scrolls” also serve to underscore the political and commercial subversion of religion in Gilead. The omnipresence of Eyes, Angels, Guardians, and Aunts—all agents of state sponsored repression—evoke an atmosphere of constant surveillance and social control in which biblical mandate, fascist tactics, and technology are all merged. Atwood frequently employs satire as a method of social critique: Econowives and Birthmobiles parody modern consumerism; Serena Joy serves as an ironic name for the bitter, repressed religious leader of women's passivity; and the “Historical Notes” postscript lampoons the arrogance and false objectivity of male academics. Though men also suffer under the tyrannical Gileadean order, Atwood focuses on the persecution of women and their various efforts to resist male domination, including flight (Moira), dissent (Ofglen), suicide (Janine), acceptance (Serena), and storytelling (Offred). The use of language as a mode of both manipulation and liberating affirmation is a dominant motif in the novel. For example, the recurring images of eyes, eggs, ovals, and mirrors in the text contrast positive feminine symbols of fertility, continuity, and wholeness with negative aspects of surveillance, control, and imprisonment. Likewise, the blood-red gowns of the Handmaids conjure positive associations with birth and life as well as pejorative links with suffering, shame, and female bondage to reproductive cycles. Such multiplicity of meaning is also embedded in Offred's name, which may be interpreted as off-read, off-red, offered, or afraid. Though Offred's pre-Gilead name is never explicitly mentioned, some critics have deduced from the text that it is June, a name significantly associated with Spring and rebirth. Throughout her narrative, Offred relies upon linguistic invention as an internal voice of self-expression, subjectivity, and, ultimately, survival, as her tapes suggest that women may transcend oppression by documenting and sharing their experiences. However, the “Historical Notes” postscript offers a skeptical conclusion that reveals the inadequacies of historical analysis and the persistence of male authority long after the fall of Gilead. Offred's account is ascribed the title “The Handmaid's Tale” by male historians who revel in its sexist pun on the word tale/tail and its association with Geoffrey Chaucer's The Canterbury Tales, suggestive in this context of a medieval regression. The pompous jibes of Professor Pieixoto, his focus on Offred's credibility, and refusal to make any moral judgements about Gileadean society indicate that Offred's voice and harrowing reality are not taken seriously, and that a reinstated patriarchal establishment continues to marginalize women. The location of the conference at the University of Denay, Nunavit, forms the linguistic pun “deny none of it.” In the end, Pieixoto's closing remark to his audience—“Are there any questions?”—serves as an ironic, open-ended, final statement that places responsibility and the possibility of change in the hands of the reader.
The Handmaid's Tale is widely acclaimed as a major work of feminist protest and speculative fiction. A critical and popular success, the novel was awarded the Los Angeles Times Book Award, Arthur C. Clarke Award, and the Commonwealth Literature Prize, and was also adapted into a film in 1990. Critics consistently draw attention to the depth and complexity of the novel, praising Atwood's ability to illustrate the insidious presence of sexism and anti-feminism in contemporary society. Recognized as a daring departure from her previous novels, most commentators have applauded Atwood's compelling extrapolations of modern social, political, and environmental problems in this work. The Handmaid's Tale is frequently compared to classic dystopian novels such as Aldous Huxley's Brave New World, George Orwell's 1984, and Anthony Burgess's A Clockwork Orange. While many critics regard Atwood's novel as a rival to these works and a breakthrough contribution to an essentially male genre, others, most notably New York Times Book Review contributor Mary McCarthy, feel Atwood's novel lacks the satiric power and imagination of these earlier novels. However, Atwood's satire has prompted other reviewers to favorably compare her work to such literary staples as Jonathan Swift: Lucy M. Freibert writes, “Instead of a modest proposal, her Swiftean serio-comic vision comprises an ironic indictment of a society that treats woman's body as a pawn and her life as an academic question.” Atwood's skillful use of postmodern narrative devices, ironic names, wordplay, and poetic language received frequent praise and is the focus of many scholarly studies of the novel. Commenting on the novel's universal significance, Stephanie Barbé Hammer writes, “the satire in The Handmaid's Tale directs its criticism towards all of us—feminists and non-feminists, women and men. It warns us of the imperceptible technology of power, of the subtle domination of women by men, and of our unconscious imprisoning of each other and ourselves by ourselves.”
Double Persephone (poetry) 1961
The Circle Game (poetry) 1966
The Animals in That Country (poetry) 1968
The Edible Woman (novel) 1969
The Journals of Susanna Moodie (poetry) 1970
Procedures for Underground (poetry) 1970
Power Politics (poetry) 1971
Surfacing (novel) 1972
Survival: A Thematic Guide to Canadian Literature (criticism) 1972
You Are Happy (poetry) 1974
Lady Oracle (novel) 1976
Selected Poems, 1965-1975 (poetry) 1976
Dancing Girls and Other Stories (short stories) 1977
Two-Headed Poems (poetry) 1978
Up in the Tree (juvenilia) 1978
Life Before Man (novel) 1979
True Stories (poetry) 1981
Bodily Harm (novel) 1982
Second Words: Selected Critical Prose (criticism) 1982
Bluebeard's Egg (short stories) 1983
Murder in the Dark: Short Fictions and Prose Poems (short stories and poetry) 1983
Interlunar (poetry) 1984
The Handmaid's Tale (novel) 1985
Selected Poems II: Poems Selected and...
(The entire section is 173 words.)
SOURCE: “A Feminist ‘1984,’” in Ms., Vol. XIV, No. 8, February, 1986, pp. 24-6.
[In the following review, Davidson offers a favorable analysis of The Handmaid's Tale.]
I once watched Margaret Atwood try to pass unnoticed through a crowded conference center where she was to be a keynote speaker. Her memorable whirl of curling hair was pulled tightly back into a bun, her collar was up, her head down. The intensity with which she attempted to appear unobtrusive was a dead giveaway. Even in disguise, she looked like someone you should know.
With The Handmaid's Tale, Atwood is again conspicuously incognito. The novel marks a radical departure for the 46-year-old Canadian who has written more than 20 books that have been published in almost as many countries. Arguably her best work yet and unarguably her most controversial, The Handmaid's Tale takes place sometime in the near future, perhaps the nineties, perhaps the turn of the century. It is set in the Republic of Gilead, formerly known as the United States of America.
The Handmaid's Tale is a speculative fiction in the tradition of Aldous Huxley or George Orwell, but with important differences. First, Atwood's future eerily resembles our present, and, second, unlike her predecessors, she concentrates on what happens to women, especially to one woman, Offred, in a fascist country controlled by...
(The entire section is 1828 words.)
SOURCE: “Repressions of a New Day,” in Time, February 10, 1986, p. 84.
[In the following review, Gray offers qualified praise for The Handmaid's Tale.]
Canadian Author Margaret Atwood's sixth novel will remind most readers of Nineteen Eighty-Four. That can hardly be helped. Any new fictional account of how things might go horribly wrong risks comparisons either with George Orwell's classic or with Aldous Huxley's Brave New World. To a remarkable degree, these two books have staked out the turf of contemporary antiutopias. Which punishment is it to be this time? Relentless, inescapable totalitarianism or the mindless, synthetic stupors of technology? As it turns out. Atwood's look at the future takes place under conditions that Orwell would recognize. Repression is the order of the new day in The Handmaid's Tale. But the villains in this piece are not the ones that Orwell accused, and the most prominent victim and hero is a woman.
She is also the narrator, and the events that led to her current condition must be pieced together from memories she has been conditioned to forget. The United States of America is now the Republic of Gilead, a Fundamentalist Christian theocracy that arose after “they shot the president and machine-gunned the Congress and the army declared a state of emergency. They blamed it on the Islamic fanatics, at the time.” The current regime...
(The entire section is 925 words.)
SOURCE: “Siren's Wail,” in Commonweal, April 25, 1986, pp. 251-3.
[In the following review, O'Brien cites flaws in the plausibility of Atwood's dystopia as depicted in The Handmaid's Tale.]
I like Margaret Atwood very much, but her new novel, The Handmaid's Tale, less. It's an ambitious recasting of 1984, from a woman's point of view, positing a takeover of the United States by right-wing religious fanatics who establish a monotheocracy. Atwood sets this in the near future, time enough, she imagines, for a crisis in fertility caused by AIDS, new strains of syphilis, and poisoning by environmental and toxic hazards. As a result, the male oligarchy that runs Gilead turns all available women (divorcees, anyone married to a divorced man, or women who have lived with men) into second wives, handmaids, as long as they have “viable ovaries.” A police state enforces this polygamy and general policy with ruthless terror.
It's not exactly the outlandishness of this that bothers me. As Atwood notes, most of the things she depicts here have their parallel in contemporary events: in the attack on women's rights by some Protestant evangelicals and Islamic fanatics, and in the practice of government terror that she is all too familiar with as a member of Amnesty International.
Atwood even includes small topical terms like “salvagings”—the Philippine...
(The entire section is 1237 words.)
SOURCE: “Atwood Woman,” in Nation, May 31, 1986, pp. 764-7.
[In the following review, Stimpson offers a positive analysis of The Handmaid's Tale.]
Politics, Margaret Atwood once said, means “who is entitled to do what to whom, with impunity; who profits by it; and who therefore eats what.” The Handmaid's Tale proves that Atwood is among the most telling political writers in the West today. Simply put, The Handmaid's Tale is a feminist dystopia. Atwood transmogrifies the Cambridge, Massachusetts, of the late twentieth century into the capital of a monotheocracy, the Republic of Gilead, a nasty piece of work. Its fundamentalist founders have pulled off a bloody coup d'état. They have replaced the Constitution with the overweening patriarchal principles of Genesis. Gilead expels Jews and blacks. It compels rigid gender roles. White women have no money, education or civil rights. However, ladies of the elite get to lord it over the household. They decide who watches what on television.
Like all dystopias, The Handmaid's Tale is about a future. However, Atwood, famously a Canadian writer, is also returning to her American past. She acknowledges that history in her dedication—to Mary Webster, a rebellious colonial American ancestor, and to Perry Miller, the professor who taught her how to read national literatures when she was a graduate student at Harvard...
(The entire section is 2145 words.)
SOURCE: “Future Tense: Making History in The Handmaid's Tale,” in Margaret Atwood: Vision and Forms, edited by Kathryn VanSpanckeren and Jan Garden Castro, Southern Illinois University Press, 1988, pp. 113-21.
[In the following essay, Davidson examines the significance of the “Historical Notes” epilogue in The Handmaid's Tale, stating, “what Atwood has written is not just a history of patriarchy but a metahistory, an analysis of how patriarchal imperatives are encoded within the various intellectual methods we bring to bear on history.”]
Margaret Atwood in The Handmaid's Tale conjoins two different projected futures. The first, distinctly dystopian, is Gilead, a fundamentally tyrannical order the author envisions for the Northeastern United States. The handmaid Offred's secret account (the women of Gilead are not even to have thoughts of their own, much less stories) gives us the measure of Gilead and particularly emphasizes—as even Offred's name attests—its use and abuse of women. This same account gives us, too, Gilead's genealogy, the story of its rapid rise in the last years of the twentieth century. Understandably alleviating her devastating assessment of her life in Gilead with memories of a different past, Offred records the traumatic transition from one order of things to a radically different order, all of which takes place within the limited span of her...
(The entire section is 3129 words.)
SOURCE: “Control and Creativity: The Politics of Risk in Margaret Atwood's The Handmaid's Tale,” in Critical Essays on Margaret Atwood, edited by Judith McCombs, G. K. Hall, 1988, pp. 280-91.
[In the following essay, Freibert provides an analysis of satire, Western patriarchal stereotypes, and the application of French feminist theory in The Handmaid's Tale. According to Freibert, “In satirizing, and thereby demystifying, Western phallocentrism in the worst of all possible contexts, Atwood also tests the viability of French feminist theory.”]
At the end of Lady Oracle (1976) Margaret Atwood's author/narrator declares, “I won't write any more Costume Gothics. … But maybe I'll try some science fiction.” In The Handmaid's Tale (1985) Atwood makes good that promise in what one might call “political-science fiction” but what she calls “speculative fiction.” This boldly political and darkly comic novel illustrates Atwood's grasp of the cultural, historical, philosophical, and literary facets of Western tradition, and the role of woman within that frame. Atwood demonstrates the absurdity of Western patriarchal teleology that views woman's biology as destiny and exposes the complicity of women in perpetuating that view. She also ridicules the mental gymnastics of academics, specifically those bent on establishing “the text.” Instead of a modest proposal, her...
(The entire section is 4855 words.)
SOURCE: “Nature and Nurture in Dystopia: The Handmaid's Tale,” in Margaret Atwood: Vision and Forms, edited by Kathryn VanSpanckeren and Jan Garden Castro, Southern Illinois University Press, 1988, pp. 101-12.
[In the following essay, Rubenstein examines the use of nature imagery and symbolism to portray female sexuality, reproduction, and maternity in The Handmaid's Tale.]
One might say that Margaret Atwood has always been concerned with issues of survival—first as a condition of Canadian experience and, more recently, as a condition of female experience. In her latest fiction and poetry, she connects the personal and political dimensions of victimization and survival in explicitly female and feminist terms. Moreover, in the course of her fiction the terms of survival have become increasingly problematic. In her fablelike The Handmaid's Tale, she stunningly extends, recasts, and inverts two of the most persistent clusters of theme and imagery that originate in her earlier concern with survival: nature and nurture.
As a number of her commentators have pointed out, Atwood uses the imagery of nature in her poetry and fiction in complex ways, delineating the terms of survival and growth as well as oppression and death. Concurrently, from the beginning of her fictional oeuvre in particular, nurture—I use the term here as...
(The entire section is 4216 words.)
SOURCE: “Margaret Atwood's The Handmaid's Tale: A Contextual Dystopia,” in Science-Fiction Studies, Vol. 16, Part 2, July, 1989, pp. 209-17.
[In the following essay, Ketterer examines the cyclical structure and historical perspective of The Handmaid's Tale. According to Ketterer, Atwood breaks from traditional dystopia conventions by juxtaposing present and post-dystopia contexts.]
Until recently Margaret Atwood's interest in SF and fantasy has found only incidental expression in her creative work. At the conclusion of Lady Oracle (1976), the narrator, a writer of “Costume Gothics,” reflects: “maybe I'll try some science fiction. The future doesn't appeal to me as much as the past, but I'm sure it's better for you.” Atwood herself has since tried some SF, most notably The Handmaid's Tale (1985), which was nominated for the Ritz-Paris Hemingway Prize in France, shortlisted for the prestigious Booker Prize, and won the Los Angeles Times Prize, the Governor General's Award in Canada, and the first Arthur C. Clarke Award for the best SF work published in Britain in 1986. The Handmaid's Tale is, in fact, the best and most successful SF novel written by a Canadian. SF is only worthy of serious attention when it is about something real; and in this case, underlying the muted feminist polemic, the central theme, equally real and earlier identified by Atwood...
(The entire section is 3648 words.)
SOURCE: “The World As It Will Be? Female Satire and the Technology of Power in The Handmaid's Tale,” in Modern Language Studies, Vol. XX, No. 2, Spring, 1990, pp. 39-49.
[In the following essay, Hammer discusses Atwood's use of satire and ironic appropriation of male literary convention to portray female domination and the dynamics of social control in The Handmaid's Tale.]
Atwood's futurist novel of 1986 is an important book for many reasons. In particular, The Handmaid's Tale plays a significant role in the evolution of women's writing in so far as it represents one of the few commercially successful and critically recognized (if not universally acclaimed) contributions by a woman writer to a literary genre dominated by men—namely, satire. Curiously however, despite its necessarily subversive status as a female invasion of male literary territory, The Handmaid's Tale possesses many formal and thematic features typical of traditional satire, as it is defined by contemporary literary theory. In fact, according to the understandings of satire put forth by accepted critics of the genre, Atwood's novel in many ways presents a satiric text-book case. The author employs a variety of themes and motifs commonly found in classical and modern satire: complex rhetorical devices such as formal disguise (a satire which masquerades as a novel which in turn masquerades as an autobiography)...
(The entire section is 4379 words.)
SOURCE: “Unwriting the Quest: Margaret Atwood's Fiction and The Handmaid's Tale,” in Women and the Journey: The Female Travel Experience, edited by Bonnie Frederick and Susan H. McLeod, Washington State University Press, 1993, pp. 199-215.
[In the following essay, Finnell examines Atwood's subversion of traditional quest themes and narrative structures in The Handmaid's Tale. “Atwood's strategy,” writes Finnell, “challenges the notion of the quest based on the conquest of identity achievable through mastery of speech, language, and subject.”]
I want to break these bones … … … … … erase all maps, crack the protecting eggshell of your turning singing children:
I want the circle broken.
Margaret Atwood, The Circle Game
If they were conscious that the narrative dynamics and the erotics of reading they were expounding were specifically tied to an ideology of representation derivable only from the dynamics of male sexuality, would they not at least feel uncomfortable making general statements about “narrative,” “pleasure,” and “us”?
Susan Winnett, “Coming Unstrung: Women, Men, Narrative, and Principles of Pleasure”
Critics often recognize in Margaret Atwood someone who writes novels of female self discovery, quest novels of...
(The entire section is 5995 words.)
SOURCE: “Names and Naming Tell an Archetypal Story in Margaret Atwood's The Handmaid's Tale,” in Names, Vol. 41, No. 3, September, 1993, pp. 143-57.
[In the following essay, Templin examines the significance of symbolic, generic, and biblical names in The Handmaid's Tale.]
One element in the highly wrought art of Margaret Atwood, and one that deserves careful attention, is her use of names to illuminate character and present theme. Atwood herself has remarked on the special concern she has for her characters’ names:
I'm very interested in their names. By that I mean their names don't always readily spring to mind. I have to go looking for their names. I would like not to have to call them anything. But they usually have to have names. Then the question is, if they are going to have names, the names have to be appropriate. Therefore I spend a lot of time reading up on meanings of names, in books like Name Your Baby.
(“Tightrope Walking” 212).
Although Atwood does not specifically refer to The Handmaid's Tale, that novel is noteworthy for its careful use of names, which, in addition to being “appropriate,” have symbolic significance. In The Handmaid's Tale Atwood uses naming practices and name usage to create meaning. The significance and value of names and naming in...
(The entire section is 4676 words.)
SOURCE: “‘Is There No Balm in Gilead?’ Biblical Intertext in Margaret Atwood's The Handmaid's Tale,” in Literature and Theology at Century's End, edited by Gregory Salyer and Robert Detweiler, Scholars Press, 1995, pp. 215-33.
[In the following essay, Filipczak examines the significance of the Bible as a tool of institutionalized oppression and the biblical parallels and interpretation as seen in The Handmaid's Tale.]
“Tu crois que cést l'oiseau qui est libre. Tu te trompes; cést la fleur …” says Jacques Derrida in one of his essays. Freedom is asserted in the cycle of defying and accepting one's roots. The Handmaid's Tale is haunted by the echo of cultural origins, as manifest via the insidious presence of biblical images in the text. Rooted in the English language legacy of the “Great Code,” Atwood's book attempts to destroy these roots via the demonic misrepresentation of Judaic-Christian religion. In the dystopic world conjured up in The Handmaid's Tale, the author uses the possibilities of distortion to the full, thereby pointing to the dangers lurking in the process of institutionalization of the sacred text.
The role of the Bible in the state depicted in The Handmaid's Tale is ambiguous. Locked in a special wooden box, it becomes a totem of the totalitarian system in every house. At the same time, it is “an incendiary device,”...
(The entire section is 6111 words.)
SOURCE: “Margaret Atwood's The Handmaid's Tale: Resistance Through Narrating,” in English Studies, Vol. 76, No. 5, September, 1995, pp. 455-67.
[In the following essay, Staels examines modes of resistance and creative self-expression in the language and poetic imagery of Offred's narrative in The Handmaid's Tale.According to Staels, “In a society that censors aesthetic speech, Offred's poetic discourse reactivates the lost potential of language and the conditions for the production of meaning.”]
In the futuristic novel The Handmaid's Tale the Canadian novelist Margaret Atwood presents a dystopian vision of a world in which the American neo-conservatives and the New Christian Right or New Puritans of the 1980s have seized power in a totalitarian theocratic republic named after the biblical land of Gilead. Like the New England Puritans of the seventeenth century, the rulers of Gilead establish a theocratic state in the area surrounding the city of Boston, Massachusetts, in the year 2000. The rulers of Gilead return to the Old Testament in a reaction against abortion, sterilization, and what they consider to be dangerous kinds of freedom of the modern welfare state.
The ideal which Gilead's ‘Sons of Jacob Think Tank’ devised is an imitation of the biblical land of Jacob and Laban, where Jacob restored hope and fertility with the help of a few Handmaids....
(The entire section is 6280 words.)
SOURCE: “Margaret Atwood's The Handmaid's Tale: False Borders and Subtle Subversions,” in LIT: Literature Interpretation Theory, Vol. 6, Nos. 3-4, December, 1995, pp. 257-68.
[In the following essay, Raschke examines the function of language as a tool of oppression and the objectification of opposing strategies of deconstruction and multiple interpretation in The Handmaid's Tale.]
Don't ask for the true story; why do you need it?
Margaret Atwood, True Stories
A disturbing futuristic tale of an ultra-right take over, where women are forced to bear children, where written and physical communication are severely circumscribed, Margaret Atwood's The Handmaid's Tale is, in part, a warning. Cities under siege, nuclear fallout, seepage of chemical toxins, an austere class system, political and social unrest, and the subsequent fundamentalist take over of “The Sons of Jacob Think Tanks” mirror too closely current American problems. Creating a nostalgia for pre-Gilead in which the narrator wistfully remembers the simple things of earlier times, Atwood's tale, in romanticizing the past (which resembles our present), masks the more pressing problem of Gilead as our present, not our future. But there is more to this text than de-evolution into some fundamentalist arcadia. Atwood's text is also about language and how language systems formulate how we...
(The entire section is 5448 words.)
SOURCE: “Science Fiction in the Feminine: The Handmaid's Tale,” in Margaret Atwood, St. Martin's Press, 1996, pp. 126-47.
[In the following essay, Howells discusses the presentation of female self-identity, memory, sensual experience, and Offred's resistance to patriarchal authority in The Handmaid's Tale.]
My room, then. There has to be some space, finally, that I claim as mine, even in this time.
The Handmaid's Tale
These words spoken by Atwood's Handmaid, deprived of her own name and citizenship and known simply by the patronymic ‘Offred', might be taken as emblematic of a woman's survival narrative told within the confines of a patriarchal system represented by the distopia known as Gilead. Restricted to private domestic spaces and relegated to the margins of a political structure which denies her existence as an individual, nevertheless Offred asserts her right to tell her story. By doing so, she reclaims her own private spaces of memory and desire and manages to rehabilitate the traditionally ‘feminine’ space assigned to women in Gilead. Atwood's narrative focuses on possibilities for constructing a form of discourse in which to accommodate women's representations of their own gendered identity while still acknowledging ‘the power of the (male ‘universal’) space in which they cannot avoid, to some...
(The entire section is 8716 words.)
SOURCE: “The Calculus of Love and Nightmare: The Handmaid's Tale and the Dystopian Tradition,” in Critique: Studies in Contemporary Fiction, Vol. 38, No. 2, Winter, 1997, pp. 83-95.
[In the following essay, Feuer discusses gender, essentialism, and ambiguity in The Handmaid's Tale,noting parallels with George Orwell's 1984. According to Feuer, Atwood's ironic presentation of a totalitarian “woman's culture” reflects schisms in contemporary feminist theory.]
Reviewers of Margaret Atwood's The Handmaid's Tale invariably hailed it as a “feminist 1984,” and, like many handy tags, this one conceals a partial truth. A closer look, however, reveals not only the similarities between the two novels’ totalitarian societies, but the ways in which Atwood's work goes beyond Orwell's, in matters of style that become matters of substance as well as in the feminist debate over “essentialism” that Atwood brings to the dystopian tradition. The novel transforms that tradition stylistically as well as thematically as Atwood, aware of her predecessors (a persistent Atwood trait: consider the parody of the Gothic in Lady Oracle, for example), both participates in and extends the dystopian genre.
That tradition is a significant one in twentieth-century literature, replacing earlier utopian visions of paradise regained with the nightmare realization...
(The entire section is 4801 words.)
Conboy, Shelia C. “Scripted, Conscripted, and Circumscribed: Body Language in Margaret Atwood's The Handmaid's Tale.” In Anxious Power: Reading, Writing, and Ambivalence in Narrative by Women, edited by Carol J. Singley and Susan Elizabeth Sweeney, pp. 349-62. Albany, NY: State University of New York Press, 1993.
Examines the use of language to convey aspects of entrapment, desire, self-identity, and the objectification of the female body in The Handmaid's Tale.
Cooper, Pamela. “Sexual Surveillance and Medical Authority in Two Versions of The Handmaid's Tale.” Journal of Popular Culture 28, No. 4 (Spring 1995): 49-66.
Discusses the sinister elements of political, sexual, and medical surveillance in The Handmaid's Tale,and the ironic duplication of such themes in the novel's film version.
Hansen, Elaine Tuttle. “Mothers Tomorrow and Mothers Yesterday, But Never Mothers Today: Woman on the Edge of Time and The Handmaid's Tale.” In Narrating Mothers: Theorizing Maternal Subjectivities, edited by Brenda O. Daly and Maureen T. Reddy, pp. 21-43. Knoxville, TN: University of Tennessee Press, 1991.
Examines the significance of maternal loss and the ideology of reproduction, motherhood, and female identity in Marge Piercy's Woman on the Edge of Time...
(The entire section is 572 words.)