For the television series of the same name, see The Handmaid's Tale (TV series)
The Handmaid's Tale (1985) is a novel of speculative fiction by Canadian author Margaret Atwood. Set in a near-future New England, in a totalitarian theocracy which has overthrown the United States government, the dystopian novel explores themes of women in subjugation and the various means by which they gain agency.
The Handmaid's Tale won the 1985 Governor General's Award and the first Arthur C. Clarke Award in 1987; it was also nominated for the 1986 Nebula Award, the 1986 Booker Prize, and the 1987 Prometheus Award. It has been adapted for the cinema, radio, opera, and stage. Most recently, it has been adapted into a television series, set to air in 2017. The Handmaid's Tale has never gone out of print since its first publication in 1985.
The Handmaid's Tale is set in the Republic of Gilead, a theocratic military dictatorship formed within the borders of what was formerly the United States of America.
Beginning with a staged attack that kills the President and most of Congress, an extreme Christian movement calling itself the "Sons of Jacob" launches a revolution and suspends the United States Constitution under the pretext of restoring order. They are quickly able to take away all of women's rights, largely attributed to financial records being stored electronically and labelled by gender. The new regime, the Republic of Gilead, moves quickly to consolidate its power and reorganize society along a new militarized, hierarchical, compulsory regime of Old Testament-inspired social and religious fanaticism among its newly created social classes. In this society, human rights are severely limited and women's rights are unrecognized as almost all women are forbidden to read.
The story is told in the first person by a woman called Offred (literally Of-Fred). The character is one of a class of women kept for reproductive purposes and known as Handmaids by the ruling class in an era of declining births due to sterility from pollution and sexually transmitted diseases. Offred describes her life during her third assignment as a Handmaid, in this case to Commander Fred (referred to as "The Commander"). Interspersed in flashbacks are portions of her life from before and during the beginning of the revolution, when she finds she has lost all autonomy to her husband, through her failed attempt to escape with her husband and daughter to Canada, to her indoctrination into life as a handmaid. Offred describes the structure of Gilead's society, including the several different classes of women and their circumscribed lives in the new theocracy.
The Commander is a high-ranking official in Gilead. Although he is supposed to have contact with Offred only during "the Ceremony", a ritual of sexual intercourse intended to result in conception and at which his wife is present, he begins an illegal and ambiguous relationship with her. He offers her hidden or contraband products, such as old (1970s) fashion magazines, cosmetics and clothes, takes her to a secret brothel run by the government, and furtively meets with her in his study, where he allows her to read, an activity otherwise prohibited for women. The Commander's wife, Serena Joy, also has secret interactions with Offred, arranging for her secretly to have sex with Nick, The Commander's driver, in an effort to get Offred pregnant. In exchange for Offred's cooperation, Serena Joy gives her news of her daughter, whom Offred has not seen since she and her family were captured trying to escape Gilead.
After Offred's initial meeting with Nick, they begin to rendezvous more frequently. Offred discovers she enjoys sex with Nick, despite her indoctrination and her memories of her husband. She shares potentially dangerous information about her past with him. Through another handmaid, Ofglen, Offred learns of the Mayday resistance, an underground network working to overthrow Gilead. Shortly after Ofglen's disappearance (later discovered to be a suicide), the Commander's wife finds evidence of the relationship between Offred and the Commander. Offred contemplates suicide. As the novel concludes, she is being taken away by the secret police, the Eyes of God, known informally as "the Eyes", under orders from Nick. Before she is put in the large black van, Nick tells her that the men are part of the Mayday resistance and that Offred must trust him. Offred does not know if Nick is a member of the Mayday resistance or a government agent posing as one, and she does not know if going with the men will result in her escape or her capture. She enters the van with her future uncertain.
The novel concludes with a metafictional epilogue that explains that the events of the novel occurred shortly after the beginning of what is called "the Gilead Period". The epilogue is "a partial transcript of the proceedings of the Twelfth Symposium on Gileadean Studies" written in 2195. According to the symposium's "keynote speaker" Professor Pieixoto, he and colleague, Professor Knotly Wade, discovered Offred's story recorded onto cassette tapes. They transcribed the tapes, calling them collectively "the handmaid's tale". Through the tone and actions of the professionals in this final section of the book, the world of academia is highlighted and critiqued, and Pieixoto discusses his team's search for the characters named in the Tale, and the impossibility of proving the tapes' authenticity. Nevertheless, the epilogue implies that, following the collapse of the theocratic Republic of Gilead, a more equal society, though not the United States as it previously had existed, re-emerged with a restoration of full rights for women and freedom of religion.
|IV Waiting Room||8-12|
|VIII Birth Day||19-23||Offred and her fellow handmaids assist with the delivery of Janine's baby|
|X Soul Scrolls||25-29||Offred and Ofglen grow closer.|
|XII Jezebels||31-39||Offred and Ofglen visit a Prayvaganza. The Commander takes Offred out for the evening, where Offred is reunited with Moira.|
- Main article: Offred
Offred is the protagonist and narrator. She became considered a wanton woman when Gilead was established, because she married a man who was divorced. All divorces were nullified by Gilead, meaning her husband was still married to his previous wife and Offred was an adulteress. In trying to escape Gilead, she was separated from her husband and daughter. She is part of the first generation of Gilead's women: those who remember pre-Gilead times. Having proven fertile, she is considered an important commodity and has been placed as a handmaid in the home of the Commander Fred and his wife Serena Joy, to bear a child for them (Serena Joy is said to be infertile).
Offred is a slave name that describes her function: she is "of Fred", i.e. she belongs to her Commander, Fred, as a concubine. In the novel, Offred says that she is not a concubine, or a geisha girl, but just a tool; a "two legged womb". It is implied that her birth name is June, though this is not confirmed by Margaret Atwood. The women in training to be handmaids whisper names across their beds at night. The names are "Alma. Janine. Dolores. Moira. June", and all are later accounted for except June. In addition, one of the Aunts tells the handmaids-in-training to stop "mooning and June-ing". Miner suggests that "June" is a pseudonym. As "Mayday" is the name of the Gilead resistance, June could be an invention by the protagonist. The Nunavit conference covered in the epilogue takes place in June.
- Main article: Commander Fred
The Commander says that he is a sort of scientist and was previously involved in something like market research, pre-Gilead. Later, it is hypothesized, but not confirmed, that he might have been one of the architects of the Republic and its laws. His first name is presumably "Fred", though that may be a pseudonym.
He engages in forbidden intellectual pursuits with Offred, such as playing Scrabble, and introduces her to a secret club that serves as a brothel for high-ranking officers. Offred learns that the Commander carried on a similar relationship with his previous handmaid and that she killed herself when his wife found out. In the epilogue, the academics speculate that one of two figures, both instrumental in the establishment of Gilead, may have been Fred, based on his first name. It is strongly suggested that the Commander was a man named Frederick R. Waterford who was killed in a purge shortly after Offred was taken away, on charges that he was harboring an enemy agent.
- Main article: Serena Joy
Serena Joy is a former televangelist and the Commander's wife in the fundamentalist theocracy. The state took away her power and public recognition, and tries to hide her past as a television figure. Offred identifies her master's wife by recalling seeing her on TV when she was a little girl early on Saturday mornings while waiting for the cartoons to air. Believed to be sterile (although the suggestion is made that the Commander is sterile, Gileadean laws attribute sterility only to women), she is forced to accept that he has use of a handmaid. She resents having to take part in the monthly fertility ritual. She strikes a deal with Offred to arrange for her to have sex with Nick in order to become pregnant. According to Professor Pieixota in the epilogue, "Serena Joy" or "Pam" are pseudonyms; the character's real name is implied to be Thelma.
- Main article: Ofglen
Ofglen is a neighbour of Offred's and a fellow Handmaid. She is partnered with Offred to do the daily shopping. Handmaids are never alone and are expected to police each other's behaviour. Ofglen is a member of the Mayday resistance. In contrast to Offred, she is daring. She knocks out a Mayday spy who is to be tortured and killed in order to save him the pain of a violent death. Ofglen later commits suicide before the government takes her into custody as part of the resistance, possibly to avoid giving away any information.
Another handmaid named Ofglen is assigned as Offred's shopping partner. She threatens Offred against any thought of resistance. She breaks protocol by telling her what happened to the first Ofglen.
- Main article: Nick
Nick is the Commander's chauffeur, who lives above the garage. By Serena Joy's arrangement, he and Offred start a sexual relationship to increase her chance of getting pregnant. If she were unable to bear the Commander a child, she would be declared sterile and shipped to the ecological wastelands of the Colonies. Offred begins to develop feelings for him. Nick is an ambiguous character, and Offred does not know if he is a party loyalist or part of the resistance, though he identifies himself as the latter. The epilogues suggests that he really was part of the resistance, and aided Offred in escaping the Commander's house.
- Main article: Moira
Moira has been a close friend of Offred's since college and is taken to be a Handmaid soon after Offred. She escapes by stealing an Aunt's pass and clothes. Offred later encounters her working as a prostitute in a party-run brothel. She had been caught and chose the brothel rather than be sent to the Colonies.
- Main article: Luke
Luke was Offred's husband prior to the formation of Gilead. He had divorced his first wife to marry her. Under Gilead, all divorces were retroactively nullified, making Offred an adulteress and their daughter a bastard. Offred was forced to become a Handmaid and her daughter was given to a loyalist family. Since their attempt to escape to Canada, Offred has heard nothing of Luke.
Pieixoto is the "co-discoverer [with Professor Knotly Wade] of Offred's tapes". He talks in his presentation about "the 'Problems of Authentication in Reference to The Handmaid's Tale'".
The novel is set in an indeterminate future, speculated to be around the year 2005, with a fundamentalist theocracy ruling the territory of what had been the United States but is now the Republic of Gilead. Individuals are segregated by categories and dressed according to their social functions. The complex sumptuary laws (dress codes) play a key role in imposing social control within the new society and serve to distinguish people by sex, occupation, and caste.
The action takes place in the Harvard Square neighborhood of Cambridge, Massachusetts; Atwood studied at Radcliffe College, located in this area.
Gilead, women are politicized and controlled. The North American population is falling as more men and women become infertile (though in Gilead, legally, it is only women who can be the cause of infertility). Gilead's treatment of women is based upon a narrow, fundamentalist interpretation of the Bible, making women the property of and subordinate to their husband, father, or head of household. They are not allowed to do anything that would grant them any power independent of this system. They are not allowed to vote, hold a job, read, possess money or own anything, among many other restrictions. A particular quote from The Handmaid's Tale sums this up: "The Republic of Gilead, said Aunt Lydia, knows no bounds. Gilead is within you" (HT 5.2). This describes that there is no way around the societal bounds of women in this state of government. Handmaids are given two-year assignments with a commander and are called "Of [their Commander's first name], such as the novel's heroine, known only as Offred. They are not allowed to marry or use their own names so when a handmaid is reassigned, her name changes with her. Their original identities before this revolution are useless, although while being re-educated as handmaids, they surreptitiously share their names with each other.
In this book, the government seems to be strong though "no one in Gilead seems to be a true believer in its revolution" (Beauchamp). The Commanders, portrayed via Commander Fred, do not agree with the doctrines. The commander takes Offred at one point to a club in order to have sex with her in an informal setting, apart from the Ceremony. The wives, portrayed via Serena Joy, former television evangelist, disobey the rules set by their husbands. Serena smokes black market cigarettes and expresses the forbidden idea that men may be infertile, and schemes to get Offred impregnated by her chauffeur.
Caste and classEdit
African Americans, the main non-white ethnic group in this society, are called the Children of Ham. A state TV broadcast mentions they have been relocated en masse to "National Homelands" in the Midwest, which are suggestive of the Apartheid-era homelands set up by South Africa. Roman Catholics are only briefly mentioned: nuns who refuse conversion are considered "Unwomen" and banished to the Colonies due to their reluctance to marry and refusal/inability to bear children. Priests unwilling to convert are executed and hung from the Wall. Jews are called Sons of Jacob, also the name of the fundamentalist group that rules the Republic of Gilead. Offred observes that Jews refusing to convert are allowed to emigrate to Israel, and most choose to leave. However, in the Epilogue, Professor Pieixoto reveals that many of the emigrating Jews ended up being dumped into the sea while on the ships ostensibly tasked with transporting them to Israel, due to privatization of the "repatriation program" and capitalists' effort to maximize profits. Offred mentions that many Jews who chose to stay were caught secretly practicing Judaism and executed.
Gender and occupationEdit
The sexes are strictly divided. Gilead's society values reproduction by white women most highly. Women are categorised "hierarchically according to class status and reproductive capacity" as well as "metonymically colour-coded according to their function and their labour" (Kauffman 232). The Commander expresses the prevailing opinion that women are considered intellectually and emotionally inferior to men.
Women are segregated by clothing, as are men. With rare exception, men wear military or paramilitary uniforms, which takes away their individualism as it does the women, but also gives them a sense of bravado and empowerment. All classes of men and women are defined by the colors they wear (as in Aldous Huxley's dystopia Brave New World), drawing on color symbolism and psychology. All lower-status individuals are regulated by this dress code. All non-persons are banished to the "Colonies" (usually forced-labor camps in which they clean up radioactive waste, becoming exposed and dying painful deaths as a result). Sterile, unmarried women are considered to be non-persons. Both men and women sent there wear grey dresses.
Men are classified into four main categories:
Commanders of the FaithfulEdit
The ruling class. Because of their status, they are entitled to establish a patriarchal household with a Wife, a Handmaid if necessary, Marthas (female servants) and Guardians. They have a duty to procreate but many may be infertile, possibly as a result of exposure to a biological agent in pre-Gilead times. They wear black to signify superiority. They are allowed cars.
The secret police attempt to discover those violating the rules of Gilead.
Soldiers who fight in the wars in order to expand and protect the country's borders. Angels may be permitted to marry.
Guardians (of the Faith)Edit
Soldiers "used for routine policing and other menial functions". They are unsuitable for other work in the republic being "stupid or older or disabled or very young, apart from the ones that are Eyes incognito" (chapter 4). Young Guardians may be promoted to Angels when they come of age. They wear green uniforms.
Men who engage in homosexuality or related acts are declared "Gender Traitors"; they are either hanged or sent to the "colonies" to die a slow death.
Six main categories of "legitimate" women make up mainstream society. Two chief categories of "illegitimate" women live outside of mainstream society:
They are at the top social level permitted to women. They are married to the higher-ranking functionaries. Wives wear blue dresses, suggesting traditional depictions of the Virgin Mary in historic Christian art. When a Commander dies, his Wife becomes a Widow and must wear black.
The natural or adopted children of the ruling class. They wear white until marriage, which is now pre-arranged. The narrator's daughter has been adopted by an infertile Wife and Commander.
Fertile women whose social function is to bear children for the Wives. They dress in a red habit that conceals their shape, plus red shoes and red gloves. They wear white wings around their heads to prevent their seeing or being seen except when standing directly in front of a person. Handmaids are produced by re-educating fertile women who have broken gender and social laws. Needing fertile Handmaids, Gilead gradually increased the number of gender-crimes. The Republic of Gilead justifies use of the handmaids for procreation based on biblical stories: Jacob took his two wives' handmaids, Bilhah and Zilpah, to bed to bear him children, when the wives could not (Gen. 30:1–3), and Abraham took his wife's handmaid, Hagar (Gen. 16:1–6). Handmaids are generally assigned to Commanders, allowed to live in their houses but remanded back to Aunts' facilities in the event a Commander is deployed in order to be guarded (and returned to the Commander's house upon his return from deployment). Handmaids who bear children to term, assist in raising them for a short time and are then given a new assignment, never to see the child again. Their success as a Handmaid, however, means they will never be declared an "Unwoman" and sent to the Colonies, even if they never have another baby.
They train and monitor the Handmaids. They promote the role of Handmaid as an honourable and legitimate one, and a method by which women who have committed crimes can redeem themselves. They directly control and police women; serving as an Aunt is the only role for unmarried, infertile and often older women to have any autonomy. It allows them to avoid going to the colonies. Aunts dress in brown. They are the only class of women permitted to read. ("The Aunts are allowed to read and write." Vintage Books, p. 139. However, in the Anchor Books edition, it says: "They played it (the Beatitudes) from a tape, so not even an Aunt would be guilty of the sin of reading. The voice was a man's. (p.89.)" In the Vintage Books edition: "They played it (the Beatitudes) from a disc, the voice was a man's." p. 100.)
They are older infertile women who have domestic skills and are compliant, making them suitable as servants. They dress in green smocks. The title of "Martha" is based on a story in Luke 10:38–42, where Jesus visits Mary, sister of Lazarus and Martha; Mary listens to Jesus while Martha works at "all the preparations that had to be made".
Women who have married relatively low-ranking men, not part of the elite. They are expected to perform all the female functions: domestic duties, companionship and child-bearing. Their dress is multi-coloured, to reflect these multiple roles.
The division of labor among the women generates some resentment. Marthas, Wives and Econowives perceive Handmaids as promiscuous and are taught to scorn them. Offred mourns that the women of the various groups have lost their ability to empathize with each other. They are divided in their oppression.
Sterile women, the unmarried, some widows, feminists, lesbians, nuns, and politically dissident women: all women who are incapable of social integration within the Republic's strict gender divisions. Gilead exiles unwomen to "the Colonies", areas both of agricultural production and of deadly pollution. Joining them are those handmaids who fail to bear a child after three two-year assignments.
Women forced to become prostitutes and entertainers. They are available only to the Commanders and to their guests. Offred portrays Jezebels as attractive and educated; they may be unsuitable as handmaids due to temperament. They have been sterilized, a surgery that is forbidden to other women. They operate in unofficial but state-sanctioned brothels, unknown to most women. Jezebels, whose title also comes from the Bible (note Queen Jezebel in the Books of Kings), dress in the remnants of sexualized costumes from "the time before", such as cheerleaders' costumes, school uniforms, and Playboy Bunny costumes. Jezebels can wear make-up, drink alcohol, and socialize with men, but are tightly controlled by the Aunts. When they pass their sexual prime and/or their looks fade, they are discarded, without any precision as to whether they are killed or sent to "the Colonies" in the novel.
Awards and critical receptionEdit
- 1985 – Governor General's Award for English language fiction (winner)
- 1986 – Booker Prize (nominated)
- 1986 – Nebula Award (nominated)
- 1987 – Arthur C. Clarke Award (winner)
- 1987 – Prometheus Award (nominated)
Reception and categorizationEdit
The Handmaid's Tale was well received by critics, helping to cement Atwood's status as a prominent writer of the 20th century. Not only was the book deemed well-written and compelling, but Atwood's work was notable for sparking intense debates both in and out of academia. Atwood maintains that the Republic of Gilead is only an extrapolation of trends already seen in the United States at the time of her writing, a view supported by other scholars studying The Handmaid's Tale. Indeed, many have placed The Handmaid's Tale in the same category of dystopian fiction as Nineteen Eighty-Four and Brave New World, with the added feature of confronting the patriarchy, a categorization that Atwood has accepted and reiterated in many articles and interviews. Even today, many reviewers hold that Atwood's novel remains as foreboding and powerful as ever, largely because of its basis in historical fact. Yet when her book was first published in 1985, not all reviewers were convinced of the "cautionary tale" Atwood presented. For example, Mary McCarthy's New York Times review argued that The Handmaid's Tale lacked the "surprised recognition" necessary for readers to see "our present selves in a distorting mirror, of what we may be turning into if current trends are allowed to continue".
The Handmaid's Tale and feminismEdit
Much of the discussion around The Handmaid's Tale has centered on its categorization as feminist literature. Atwood does not see the Republic of Gilead as a purely feminist dystopia, as not all men have greater rights than women. Instead, this society presents a typical dictatorship: "shaped like a pyramid, with the powerful of both sexes at the apex, the men generally outranking the women at the same level; then descending levels of power and status with men and women in each, all the way down to the bottom, where the unmarried men must serve in the ranks before being awarded an Econowife". Additionally, Atwood has argued that while some of the observations that informed the content of The Handmaid's Tale may be feminist, her novel is not meant to say "one thing to one person" or serve as a political message—instead, The Handmaid's Tale is "a study of power, and how it operates and how it deforms or shapes the people who are living within that kind of regime". Some scholars have offered such a feminist interpretation, however, connecting Atwood's use of religious fundamentalism in the pages of The Handmaid's Tale to a condemnation of their presence in current American society. Yet others have argued that The Handmaid's Tale critiques typical notions of feminism, as Atwood's novel appears to subvert the traditional "women helping women" ideals of the movement and turn toward the possibility of "the matriarchal network ... and a new form of misogyny: women's hatred of women". In a similar vein, Atwood's own work suggests that "'excessive' feminism" was partially responsible for creating the Republic of Gilead: in the novel, women fought against pornography's perceived oppression of women by burning racy magazines, and the "women's world" that many feminists fought for was eventually created, although still "policed by men".4
The Handmaid's Tale has been adapted several times into different mediums, including film, opera, radio and television series. The film, released in 1990, was considered a rather loose adaption and made many changes from the source material. The most recent adaption is the television series, The Handmaid's Tale, which first aired in 2017 and is a more faithful adaption of the novel, though it also adds or expands upon various characters and plotlines, due to being less restrictive than its book counterpart, in terms of style - the novel is told entirely from Offred's perspective, meaning we only know as much as she knows, whilst the television series takes the viewpoint of other characters too, who have access to information Offred doesn't or follow different story arcs.