Margaret Atwood - The Handmaid’s Tale

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Reviewed by Kathleen A. Cameron, Justice Studies, Social Sciences Department, Pittsburg State University. Email: kcameron [at] pittstate.edu.
Imagine a society where a sign in red paint reads, “We warn against not wearing a headscarf and wearing makeup. Those who do not abide by this will be punished. God is our witness, we have notified you.” Imagine a society where women are tortured and killed for disobeying this law – a society where religious beliefs, the political structure, and female sexual identity are so intertwined as to justify and require the control of women’s freedom, the sexual victimization of women, and the torture and murder of women who do not comply. Imagine a society where a woman is accused by religious police of being a witch and is sentenced to death by beheading.
Margaret Atwood imagines this society in her futuristic, dystopian novel, THE HANDMAID’S TALE. While the excerpt above is a non-fictional description of present-day Iraq and Saudi Arabia, Atwood’s vision of a fictional theocratic regime that reduces the value of women to reproductive commodities is a disturbingly accurate account of the status of women in the Middle East and other parts of the world, and is in many ways reflected in political, legal, and cultural doctrines, ideologies, and practices in the U.S.
Numerous reviews of this most profound and telling work by Atwood have been written since its publication in 1986. Written in a similar vein to Huxley’s BRAVE NEW WORLD (1932), Orwell’s 1984 (1949), and Burgess’ A CLOCKWORK ORANGE (1962), but with the mysogynistic focus of Piercy’s WOMAN ON THE EDGE OF TIME (1976), it is one of the two most popular Atwood works for use in university classrooms (along with Atwood’s SURFACING (1972)). Rich with symbolism and textured with irony, it relies on a feminist methodology of the narrative, the primary way individuals make sense of experience. As such, it provides an ideal source for generating dialogue, teaching, and learning in courses that have typically included courses in the humanities and social sciences. This review illustrates the use of this work in a course on Women, Crime and Justice, and includes a student paper excerpt in the brief summary of THE HANDMAID’S TALE that follows. The student contributor to the summary below writes, “I am finding The Handmaid’s Tale to be a heart-breaking, yet inspiring novel… I could not stop reading.” Adaptations include a film, an opera, and an unabridged audio book.
The story is set in the futuristic United States of America in the fictional town of Gilead, a puritanical society in which dress codes are used as a way to subjugate women. The tale opens with the narrator, Offred (Of-Fred) remembering a time when she was held against her will in an old gymnasium, [*299] known as the Red Center. Women here are trained to become Handmaids, surrogate mothers for powerful military families, who are ordered to wear red dresses with white veils to signify their importance to the cause (having the Commanders’ children). Gilead is a theocracy run by Christian extremists in which women are not allowed to hold jobs, read, or use money. The chief function of women is to bear children since the decline in the birth rate. Women of lower status, the “econowives” wear striped dresses to signify that their husbands are not yet Commanders.
Throughout the novel, Offred narrates from remembering past times to the present. She is a Handmaid who lives in a Commander’s house but she remembers a time when she was married to a man named Luke and they had a child together. Offred has no idea what happened to either her child or Luke, but she recalls that her child was taken from her because she was deemed “unfit.” In the new world of Gilead (once the United States), the Constitution has been suspended and a Christian theocracy has replaced a democratic government. To address the declining birth rate caused by pollution and chemical poisoning, the government has created Handmaids who are placed in the households of Commanders whose wives can no longer bear children. Handmaids are under constant surveillance, subject to strict rules and regulations, and suffer extreme punishment or death if they defy the Gileadean regime.
While words such as “engaging,” “well-structured,” and “suspenseful” have been used to describe the work, THE HANDMAID’S TALE offers a myriad of themes for pedagogy much more profound than its value as a compelling read and its use in discussions of literature and creative writing. More specifically, the work lends itself to an examination of the politics of female sexuality as inextricably linked to female criminality. As the tale unravels, the boundaries between Atwood’s fictional characters of Gilead and the historical oppression and subjugation of women in the U.S. and the world become increasingly blurred. Students are given the opportunity to uncover ways in which political ideologies have given rise to structures of power that connect the personal to the political. The practices and beliefs in the fictional Republic of Gilead can be used to expose the roots of a non-fictional political campaign to control women that can be seen as early as the 15th century in Europe, when control of women’s reproductive issues and control over women’s bodies fueled a theocratic movement against women as the Roman Catholic church defined their healing practices as the crime of “witchcraft” and led to beliefs that female sexuality was the downfall of man.
This theme of woman as the “sexual temptress” is brought to light once again in the current political regime in Saudi Arabia. In today’s news, where a Saudi woman has been sentenced to death for the crime of witchcraft, the color red has been banned as testament that, in the words of one Atwood reviewer, “dehumanization of women is not just a custom but actually the law.” In THE HANDMAID’S TALE, we see the symbolism of the color red. As one student explains, “Red is a scandalous, racy color, defining the Handmaids as such. Everything associated with the [*300] Handmaids is red.” The novel’s protagonist, Offred, states, “Everything except the wings around my face is red: the color of blood, which defines us.” (Atwood, p. 8) Atwood uses the symbology of color to represent social status (Commanders dress in black and drive black cars) for characters as well as the political structure of the society (“ Red Center ”).
The seamless blend of political power, ideological structures, and criminal justice practices is artistically woven into the tapestry of Atwood’s social commentary on the oppression of women. Throughout the novel’s fabric, we find threads of the objectification of women in the control of female sexuality; the value of women defined by reproduction; the victim/criminal continuum and the politics of female victimization and female criminality; the female criminality link to structural dislocation; and the feminist methodology of personal voice, experience, and the power of the narrative.
Any crime can result in an execution and a public hanging on “The Wall,” but just being female is suspect enough. Atwood resists painting a picture of Offred as a victim; on the contrary, Offred is intelligent, courageous, and defiant in the face of her life under siege. Ironically, when it is more common for survivors of sexual crimes and political torture to remain silent, it is Offred’s narrative that empowers the reader to champion her eventual uprising against the family and government that hold her captive. While rape survivors and other women who are victims of crimes of power often find it difficult to talk about their experiences and resist naming them, it is precisely her narrative and the naming of her world that carries Offred to rise above the Giladean regime. The political identity that has been inflicted upon her is ultimately unable to destroy her personal identity and she emerges as a heroine rather than a Handmaid.
As a pedagogical palette, THE HANDMAID’S TALE is rich in possibilities for analyzing the intersection between crimes against women, crimes by women, and the politics of female sexuality. In this tenth anniversary year of “The Vagina Monologues” and the V-Day movement to end violence against women, we read news accounts daily such as those described in the opening statements of this review -- Iraqi women being tortured and killed for contradicting the requirements of Islam demanding that women cover their heads and Saudi women being executed by political regimes in the name of religion. As a feminist pedagogy and methodology, the power of giving voice to women and naming personal experience is the power of THE HANDMAID’S TALE.

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For him, I must remember, I am only a whim.

26

When the night for the Ceremony came round again, two or three weeks later, I found that things were changed. There was an awkwardness now that there hadn't been before. Before, I'd treated it as a job, an unpleasant job to be gone through as fast as possible so it could be over with. Steel yourself, my mother used to say, before examinations I didn't want to take or swims in cold water. I never thought much at the time about what the phrase meant, but it had something to do with metal, with armor, and that's what I would do, I would steel myself. I would pretend not to be present, not in the flesh.

This state of absence, of existing apart from the body, had been true of the Commander too, I knew now. Probably he thought about other things the whole time he was with me; with us, for of course Serena Joy was there on those evenings also. He might have been thinking about what he did during the day, or about playing golf, or about what he'd had for dinner. The sexual act, although he performed it in a perfunctory way, must have been largely unconscious, for him, like scratching himself.

But that night, the first since the beginning of whatever this new arrangement was between us-I had no name for it-I felt shy of him. I felt, for one thing, that he was actually looking at me, and

I didn't like it. The lights were on, as usual, since Serena Joy always avoided anything that would have created an aura of romance or eroticism, however slight: overhead lights, harsh despite the canopy. It was like being on an operating table, in the full glare; like being on a stage. I was conscious that my legs were hairy, in the straggly way of legs that have once been shaved but have grown back; I was conscious of my armpits too, although of course he couldn't see them. I felt uncouth. This act of copulation, fertilization perhaps, which should have been no more to me than a bee is to a flower, had become for me indecorous, an embarrassing breach of propriety, which it hadn't been before.

He was no longer a thing to me. That was the problem. I realized it that night, and the realization has stayed with me. It complicates.

Serena Joy had changed for me, too. Once I'd merely hated her for her part in what was being done to me; and because she hated me too and resented my presence, and because she would be the one to raise my child, should I be able to have one after all. But now, although I still hated her, no more so than when she was gripping my hands so hard that her rings bit my flesh, pulling my hands back as well, which she must have done on purpose to make me as uncomfortable as she could, the hatred was no longer pure and simple. Partly I was jealous of her; but how could I be jealous of a woman so obviously dried-up and unhappy? You can only be jealous of someone who has something you think you ought to have yourself. Nevertheless I was jealous.

But I also felt guilty about her. I felt I was an intruder, in a territory that ought to have been hers. Now that I was seeing the Commander on the sly, if only to play his games and listen to him talk, our functions were no longer as separate as they should have been in theory, I was taking something away from her, although she didn't know it. I was filching. Never mind that it was something she apparently didn't want or had no use for, had rejected even; still, it was hers, and if I took it away, this mysterious "it" I couldn't quite define-for the Commander wasn't in love with me, I refused to believe he felt anything for me as extreme as that-what would be left for her?

Why should I care? I told myself. She's nothing to me, she dislikes me, she'd have me out of the house in a minute, or worse, if she could think up any excuse at all. If she were to find out, for instance. He wouldn't be able to intervene, to save me; the transgressions of women in the household, whether Martha or Handmaid, are supposed to be under the jurisdiction of the Wives alone. She was a malicious and vengeful woman, I knew that. Nevertheless I couldn't shake it, that small compunction towards her.

Also: I now had power over her, of a kind, although she didn't, know it. And I enjoyed that. Why pretend? I enjoyed it a lot. f

But the Commander could give me away so easily, by a look, by a gesture, some tiny slip that would reveal to anyone watching that there was something between us now. He almost did it the night of the Ceremony. He reached his hand up as if to touch my face; I moved my head to the side, to warn him away, hoping Serena Joy hadn't noticed, and he withdrew his hand again, withdrew into himself and his singled-minded journey.

Don't do that again, I said to him the next time we were alone.

Do what? he said.

Try to touch me like that, when we're… when she's there.

Did I? he said.

You could get me transferred, I said. To the Colonies. You know that. Or worse. I thought he should continue to act, in public, as if I were a large vase or a window: part of the background, inanimate or transparent.

I'm sorry, he said. I didn't mean to. But I find it…

What? I said, when he didn't go on.

Impersonal, he said.

How long did it take you to find that out? I said. You can see from the way I was speaking to him that we were already on different terms.

For the generations that come after, Aunt Lydia said, it will be so much better. The women will live in harmony together, all in one family; you will be like daughters to them, and when the population level is up to scratch again we'll no longer have to transfer you from one house to another because there will be enough to go round. There can be bonds of real affection, she said, blinking at us ingratiatingly, under such conditions. Women united for a common end!

Helping one another in their daily chores as they walk the path of life together, each performing her appointed task. Why expect one woman to carry out all the functions necessary to the serene running of a household? It isn't reasonable or humane. Your daughters will have greater freedom. We are working towards the goal of a little garden for each one, each one of you-the clasped hands again, the breathy voice-and that's just one for instance. The raised finger, wagging at us. But we can't be greedy pigs and demand too much before it's ready, now can we?

The fact is that I'm his mistress. Men at the top have always had mistresses, why should things be any different now? The arrangements aren't quite the same, granted. The mistress used to be kept in a minor house or apartment of her own, and now they've amalgamated things. But underneath it's the same. More or less. Outside woman, they used to be called, in some countries. I am the outside woman. It's my job to provide what is otherwise lacking. Even the Scrabble. It's an absurd as well as an ignominious position.

Sometimes I think she knows. Sometimes I think they're in collusion. Sometimes I think she put him up to it, and is laughing at me; as I laugh, from time to time and with irony, at myself. Let her take the weight, she can say to herself. Maybe she's withdrawn from him, almost completely; maybe that's her version of freedom.

But even so, and stupidly enough, I'm happier than I was before. It's something to do, for one thing. Something to fill the time, at night, instead of sitting alone in my room. It's something else to think about. I don't love the Commander or anything like it, but he's of interest to me, he occupies space, he is more than a shadow.

And I for him. To him I'm no longer merely a usable body. To him I'm not just a boat with no cargo, a chalice with no wine in it, an oven-to be crude-minus the bun. To him I am not merely empty.

27

I walk with Ofglen along the summer street. It's warm, humid; this would have been sundress-and-sandals weather, once. In each of our baskets are strawberries-the strawberries are in season now, so we'll eat them and eat them until we're sick of them-and some wrapped fish. We got the fish at Loaves and Fishes, with its wooden sign, a fish with a smile and eyelashes. It doesn't sell loaves though. Most households bake their own, though you can get dried-up rolls and wizened doughnuts at Daily Bread, if you run short. Loaves and Fishes is hardly ever open. Why bother opening when there's nothing to sell? The sea fisheries were defunct several years ago; the few fish they have now are from fish farms, and taste muddy. The news says the coastal areas are being "rested." Sole, I remember, and haddock, swordfish, scallops, tuna; lobsters, stuffed and baked, salmon, pink and fat, grilled in steaks. Could they all be extinct, like the whales? I've heard that rumor, passed on to me in soundless words, the lips hardly moving, as we stood in line outside, waiting for the store to open, lured by the picture of succulent white fillets in the window. They put the picture in the window when they have something, take it away when they don't. Sign language.

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