The Handmaid's tale in sofia's favorite songs

Song #1: Keep Moving: Jungle

In chapter 18 of The Handmaid’s Tale Offred, the main character begins describing a series of events that she believes happened to her former husband, Luke. She specifically explains, “The message will say that I must have patience: sooner or later he will get me out…It’s this message, that may never arrive, that keeps me alive. I believe in this message”(Atwood 106). Offred describes this message as her own form of hope and motivation. Which almost directly connects with the song, “Keep Moving” by Jungle. In “Keep Moving” Jungle talks about their motivation to continue on as well, “I’ll be running with you, If I can’t understand it, I’ll find another way, Keep moving, keep moving… thanks for making me stronger” (Jungle). Both pieces mention what it means to have an outsider motivator, someone giving you that boost to “Keep Moving” in even those most difficult situations. Offred uses Luke as a motivator until she is able to escape this totalitarian regime.

Song #2: Free room: Ravyn Lenae(Appleby)

In chapter 9, of Margaret Atwood’s, The Handmaid’s Tale, readers are given flashbacks to the main character, Offred’s past life. Atwood tells us about her former family and what it was like growing up for Offred in the past world. “My name isn’t Offred, I have another name… I tell myself it doesn’t matter, your name is like your telephone number, useful only to others; but what I tell myself is wrong, it does matter”(Atwood 84). Similarly, the song “Free Room” by Ravyn Lenae and Appleby talks about not knowing someone you once knew very well. Her chorus being, “You don’t know me anymore, the eyes, you’d think you’d shake your thighs, In a room full of fallen hope and tainted skies…The things in me you thought you knew, I don’t know you, There’s zero judgment, There’s a free room”(Ravyn Lenae & Appleby). As the text switches between the present day and Offred’s past readers realize how much Offred has changed and been conditioned to think, behave, and act a specific way. So much so that she doesn’t even recongnize herself after being indoctrinated into this society, so she holds onto the small memories she has like her real name and memories of her mother and daughter.

Song #3: Broken: Little Simz

In chapter 22 of The Handmaid’s Tale, it is revealed to readers the truth of Moira’s disappearance. Moira stopped one of the Aunts and used her clothing to escape from the center they were all being held in. Moira became a sense of hope for Offred and all the other girls, even if it was one they were terrified of. “Moira had power now, she’d been set loose, she’d set herself loose. She was now a loose woman. I think we found this frightening” (Atwood 133). Moira was someone who had escaped, she was meant to be freed from this unjust, horrible society. In the song “Broken” by Little Simz she talks about what it means to feel broken without any way to fix yourself and her healing journey. She says, “You exist, you alive you are deservin’ of life, you are a beacon of light, you are determined to fly, you have a journal inside, you have the power to write…” (Little Simz). The impact of her escape on the other girls in the center is definitely downplayed throughout this chapter. Moira put that idea of freedom, true escape, and reminded the other girls what could be if they all stood up against this imprisonment disguised as a better way of life.

Song #4: I want you: Marvin Gaye

In Chapter 23, readers see an awkward, illegal interaction between the commander and Offred. They meet secretly in his office for a game of Scrabble. After exchanging words with one another the commander says, “I want you [Offred] to kiss me” (Atwood 139). After kissing the Commander he says to Offred, “Not like that… As if you meant it” (Atwood 140). The commander is showing his vulnerability to Offred. He wants something intimate, something real. In Marvin Gaye’s “I Want You” he says, “I want you… the right way… I want you to want me… just like I want you…”(Marvin Gaye). Both Marvin and the Commander are expressing their need for true intimacy, for a real moment between two people. In this dystopian society as well as in the current Times, the want for a genuine connection with someone.

Song #5: Little Things: Jorja Smith

In chapter 17 of “The Handmaid’s Tale” Margret Atwood describes a vital moment that Offred has with her truth and desires. Offred after contemplating what power she holds in her own life, explains that she wants to steal something, a way of gaining that control back. While Offred leaves her room to steal she ends up sharing an extremely intimate moment with Nick, the commander’s driver. In the song, “Little Things” by Jorja Smith she says, “Can I get close, Even for one second, It’s the little things that get me high, won’t you come with me and spend the night”(Jorja Smith). Both Atwood and Smith explain the need and want for small points of power. The feeling of being “High” from spending time with someone, in Offred’s case, Nick. These small moments give Offred a greater sense of control in her uncontrollable life.