Zusammenfassung der Ressource
The Handmaid's Tale
- Themes
- Utopias/Distopias
- "From a distance it
looks like peace"
- Therefore at the heart of Gilead there is not peace,
just the illusion meaning Gilead itself is a fantasy
- Feminism
- "two-legged womb"
- Body isn't "solid"
but a "cloud"
around her womb
which is her most
important feature
- Feminine attempts to
lighten the novel never hide
the misery boredom and
dangers of her situation
- Offred's narrative illustrates the difference between a woman's private
narrative of memory and the grand impersonal narrative of history
- "Doubled, I walk the street
- Externally: Handmaids are like personification of
feminine submissiveness and companionship
- Internally: Handmaids are parody of femininity
acting out masquerade hiding Gilead's oppression
- By reminiscing about Sunday walks with her long lost
husband she is resisting to everything Gilead stands for
- Offred refuse to be subjugated by Commander's violation,
instead becoming an explorer of her own dark inner space
- Becomes a transforming metaphor (womb expands until
it assumes cosmic proportions) as well as a analogy
- "Doubled" links to her many doubles during the novel; Ofglen (Revolutionary), predecessor
(room), Commander's wife (Commander's sexual attentions), Ofwarren (brainwashed Offred)
- All these women then linked by the patriarchal regime which oppresses them
- Irony
- Context/Critiques
- Postmodern Critiques
- Genres merely social constructions, historically and
ideologically responsive to society in which we live
- Linda Hutcheon argues post modern fiction highlights specifities of location which challenge conventions
which are presumed to be universal, fictions critical emphasis is now on resistance to generic conventions
- Atwood: "Both Utopias and Dystopias have the habit of cutting off the hands and feet and even
heads of those who dont fit in the scheme" - ironic as shows utopia for some is anothers dystopia
- Motifs
- Red
- Scarlett women are "ancient vessels"
and sisters are "dipped in blood"
- Shows Gilead's fascination with
and vilification of female sexuality
- "I tell the time by the moon. Lunar, not solar"
connect to her talking about blood - link
between moon cycle and menstrual cycle
- Propaganda
- "Gilead is within you" - Aunt Lydia
- Link to "The kingdom of God is within you"
- Gilead is a state of mind not just a territorial state
- Likens blank space on the ceiling where the light
fitting has been removed to "wreath" or "frozen halo"
- Behind blankness (of every day life) lies Offred's
insistent fears of torture, injury and death
- Love of puns, arbitrary connections between
words that sound same but mean different
- How word "chair" may refer to "the leader
of a meeting" or "a mode of execution"
- And means flesh in French
- Word play shows her sharpness of mind and her moral refusal
to flatten language as Gilead does, which leads to confusion
- Symbols
- Garden
- Offred uses "we" and "our"
when talking about garden
- In Chapter Offred rhapsodises over garden's full bloom finding in this a moment
where she transcends her physical constraints to enter otherness of natural world
- Place of Romantic fantasy
- "a Tennyson Garden", "the
return of the word swoon"
- In this part of the text traditional images of femininity breathe
through the prose as garden breathes in the light and heat of summer
- Observes process of metamorphis
- the willow tree whispers promises of romantic trysts
- feminised emblem of sexual desire
- Not attached to the Virgin Mary's enclosed paradise even though Serena
Joy - who owns the garden - wears the virgins colour blue when gardening
- Religion
- The phallic power in the novel is underpinned by the Bible
- Characters
- Offred
- She pictures herself as a heroine of romance
- Her imaginative celebration of natural beauty and fertility
shows heroic resistance to Gilead's sterile patriarchal power
- Internal Resistance is major part of her character
- In Chapter 41 she apologises to the reader, evokes guilt
- likens structure of her story to a dismembered body and then as a story
personified as a victim of torture or as one of the walking wounded after a battled
- She is a self conscious narrator who is aware
of her own "limping and mutilated" narrative
- Fragmented structure, isolated secenic units, gaps and blanks,
dislocated time sequence, her own hesitations and doubts
- We learn at the end that we are reading transcript from jumble of cassette recordings,
the story is the reconstruction of Offred's reconstruction of her story after she escaped
- Yet storytelling is the only
possible gesture against the
silences of death and history
- Offred's storytelling process invents her won listeners in whom
she must believe as she needs to gesture to a world outside Gilead
- Storytelling is a
way of surviving
- Offred's narrative is discontinuos - Atwood "Details, episodes seperate
themsleves from the flow of time in which they are embedded
- Atwood wrote novel exploring
meaning of surviving
- Offreds first priority is surviving dangerous Gilead physically - "I am
alive, I live, I breath, I put my hand out, unfolded into the sunlight
- She retains this rigourous survival instinct even
in most threatening circumstances
- Second is surviving physiologically
- She does this through storytelling
- "What I need is perspective . The illusion of depth ... otherwise
you live in the moment. Which is not where I want to be."
- Story told from her point of
view - "ignorant peripherally
involved women
- Moira
- Always known by first name as never becomes a Handmiad
- To offred embodiment of female heroism, to Gilead a "loose women"
- Has not escaped at all
- Serena Joy
- Got famous by being pro ultra-conservative domestic policies
- Ironic as now stuck in home she wished for
- Nick, the Commander and Luke