Far Away by Clara La San: As readers follow Offred’s life in Gilead, they learn that she has a young daughter who was captured while trying to escape America with her and Luke. Her daughter is the main character in many of her memories; she wonders if she remembers her, where she is and if she is even still alive. Later in the book, Serena becomes more eager to have a child so she proposes a solution: Offred has sex with another man to better her chances of getting pregnant in exchange for a picture of Offred’s daughter. Offred accepts the offer. “I take it from her… My treasure. So tall and changed… I am only a shadow now… You can see it in her eyes: I am not there” (Atwood 228). The song Far Away by Clara La San expresses a distant love such as what Offred is experiencing. “If I’m far away, I will prescribe you something, something to give you, the strength, my love” is a message to her daughter to motivate herself to stay strong for her.

Willing to Trust by Kid Cudi: The sexual encounters between Offred and the Commander were strictly professional until he requested to see her in person. As they spent more time together, he grew more of an emotional liking to her, asking her to kiss him like she meant it as a goodbye after seeing each other. She complies because she knows that he is the key to having a more comfortable life in Gilead but this does not mean that she feels the same way about him. One night he gives her an outfit to wear to the Club, a place in a hotel where men go to gawk at women. The Commander believed he was thoughtful as he took her to a hotel room to have sex: “‘I thought you might enjoy it for a chance”’(Atwood 254). Willing to Trust by Kid Cudi is a perfect song to describe his delusion of Offred truly enjoying their forced sex. “I’ve been willing to trust someone, Is this really love what it’s becomin’?” The Commander believes they have a connection when in reality, Offred is taking advantage of him to better her wellbeing in a living hell.

Palaces by Lupe Fiasco: Throughout the Handmaid’s Tale, there are numerous instances where the reader can see how Gilead uses objectification and manipulation to control its Handmaids. Janine, one of Offred’s peers, tells her story about being gang-raped at only fourteen years old at Testifying. Aunt Helena is then quick to demean her by saying, “But whose fault was it?” (Atwood 72) and making the other Handmaids chant, “Her fault, her fault, her fault…” (Atwood 72). Janine breaks down into tears. The next week she takes the initiative to repeat the words to herself, “It was my fault, she says. It was my own fault. I led them on. I deserved the pain.” (Atwood 72). Aunt Lydia and Aunt Helena know that by degrading yourself, you start to lose your identity, strength, and confidence. Lyrics from the song Palaces by Lupe Fiasco write, “We think we’re fortresses, made of stone, But we’re just palaces made out of flesh and bone, waiting for our time to come on home”. When Lupe says “home” he could be referring to heaven, or somewhere with God, in this context. I recognized these lines as something the handmaids say to themselves to break any mentality of rebelling.

Cool Grey 11s by Marlon Craft: Marlon Craft said, “Country of compulsion in a world of illusion”. As the new laws and new government began to take over, women were slowly stripped of their basic rights. It began with the army declaring a state of emergency but escalated to suspending the Constitution. People did not question anything that was happening, there were no protests,“There wasn’t even rioting in the streets. People stayed home at night, watching television, looking for some direction” (Atwood 174). From firing all women from their jobs to forcing banks to transfer women’s earnings to their husbands. America quickly and easily folded into a life of inequality. While genuine Jewish people were able to escape to Israel because they were seen as special: “Sons of Jacob”, most, like Offred, attempted to escape through the Canadian border. Canada and Israel have not interfered with America’s new system. Why weren’t people questioning the government shutdown? Why didn’t other countries recognize the devastation? “Country of compulsion”.

Where did the day go by Wet: Living through the manipulation of Gilead is similar to moving through water: each day that goes by feels slow and endless to Offred. Readers often find her pondering her past but also her surroundings: “the shell of the egg is smooth but also grained; small pebbles of calcium are defined by the sunlight, like craters on the moon” (Atwood 110). If their minds haven’t broken yet, imagination is the only freedom the Handmaids have access to. Where did the day by Wet embodies their experience, “I see a field below, and when I’m feeling low, I open my eyes, and to my surprise, there’s no one inside, I never arrive”. These lyrics serve as a reminder that their fate lies within Gilead’s laws and traditions as it is nearly impossible to escape alive.

Far Away by Clara La San: As readers follow Offred’s life in Gilead, they learn that she has a young daughter who was captured while trying to escape America with her and Luke. Her daughter is the main character in many of her memories; she wonders if she remembers her, where she is and if she is even still alive. Later in the book, Serena becomes more eager to have a child so she proposes a solution: Offred has sex with another man to better her chances of getting pregnant in exchange for a picture of Offred’s daughter. Offred accepts the offer. “I take it from her… My treasure. So tall and changed… I am only a shadow now… You can see it in her eyes: I am not there” (Atwood 228). The song Far Away by Clara La San expresses a distant love such as what Offred is experiencing. “If I’m far away, I will prescribe you something, something to give you, the strength, my love” is a message to her daughter to motivate herself to stay strong for her.

Willing to Trust by Kid Cudi: The sexual encounters between Offred and the Commander were strictly professional until he requested to see her in person. As they spent more time together, he grew more of an emotional liking to her, asking her to kiss him like she meant it as a goodbye after seeing each other. She complies because she knows that he is the key to having a more comfortable life in Gilead but this does not mean that she feels the same way about him. One night he gives her an outfit to wear to the Club, a place in a hotel where men go to gawk at women. The Commander believed he was thoughtful as he took her to a hotel room to have sex: “‘I thought you might enjoy it for a chance”’(Atwood 254). Willing to Trust by Kid Cudi is a perfect song to describe his delusion of Offred truly enjoying their forced sex. “I’ve been willing to trust someone, Is this really love what it’s becomin’?” The Commander believes they have a connection when in reality, Offred is taking advantage of him to better her well being in a living hell.

Palaces by Lupe Fiasco: Throughout the Handmaid’s Tale, there are numerous instances where the reader can see how Gilead uses objectification and manipulation to control its Handmaids. Janine, one of Offred’s peers, tells her story about being gang-raped at only fourteen years old at Testifying. Aunt Helena is then quick to demean her by saying, “But whose fault was it?” (Atwood 72) and making the other Handmaids chant, “Her fault, her fault, her fault…” (Atwood 72). Janine breaks down into tears. The next week she takes the initiative to repeat the words to herself, “It was my fault, she says. It was my own fault. I led them on. I deserved the pain.” (Atwood 72). Aunt Lydia and Aunt Helena know that by degrading yourself, you start to lose your identity, strength, and confidence. Lyrics from the song Palaces by Lupe Fiasco write, “We think we’re fortresses, made of stone, But we’re just palaces made out of flesh and bone, waiting for our time to come on home”. When Lupe says “home” he could be referring to heaven, or somewhere with God, in this context. I recognized these lines as something the handmaids say to themselves to break any mentality of rebelling.

Cool Grey 11s by Marlon Craft: Marlon Craft said, “Country of compulsion in a world of illusion”. As the new laws and new government began to take over, women were slowly stripped of their basic rights. It began with the army declaring a state of emergency but escalated to suspending the Constitution. People did not question anything that was happening, there were no protests,“There wasn’t even rioting in the streets. People stayed home at night, watching television, looking for some direction” (Atwood 174). From firing all women from their jobs to forcing banks to transfer women’s earnings to their husbands. America quickly and easily folded into a life of inequality. While genuine Jewish people were able to escape to Israel because they were seen as special: “Sons of Jacob”, most, like Offred, attempted to escape through the Canadian border. Canada and Israel have not interfered with America’s new system. Why weren’t people questioning the government shutdown? Why didn’t other countries recognize the devastation? “Country of compulsion”.

Where did the day go by Wet: Living through the manipulation of Gilead is similar to moving through water: each day that goes by feels slow and endless to Offred. Readers often find her pondering her past but also her surroundings: “the shell of the egg is smooth but also grained; small pebbles of calcium are defined by the sunlight, like craters on the moon” (Atwood 110). If their minds haven’t broken yet, imagination is the only freedom the Handmaids have access to. Where did the day by Wet embodies their experience, “I see a field below, and when I’m feeling low, I open my eyes, and to my surprise, there’s no one inside, I never arrive”. These lyrics serve as a reminder that their fate lies within Gilead’s laws and traditions as it is nearly impossible to escape alive.

Far Away by Clara La San: As readers follow Offred’s life in Gilead, they learn that she has a young daughter who was captured while trying to escape America with her and Luke. Her daughter is the main character in many of her memories; she wonders if she remembers her, where she is and if she is even still alive. Later in the book, Serena becomes more eager to have a child so she proposes a solution: Offred has sex with another man to better her chances of getting pregnant in exchange for a picture of Offred’s daughter. Offred accepts the offer. “I take it from her… My treasure. So tall and changed… I am only a shadow now… You can see it in her eyes: I am not there” (Atwood 228). The song Far Away by Clara La San expresses a distant love such as what Offred is experiencing. “If I’m far away, I will prescribe you something, something to give you, the strength, my love” is a message to her daughter to motivate herself to stay strong for her.

Willing to Trust by Kid Cudi: The sexual encounters between Offred and the Commander were strictly professional until he requested to see her in person. As they spent more time together, he grew more of an emotional liking to her, asking her to kiss him like she meant it as a goodbye after seeing each other. She complies because she knows that he is the key to having a more comfortable life in Gilead but this does not mean that she feels the same way about him. One night he gives her an outfit to wear to the Club, a place in a hotel where men go to gawk at women. The Commander believed he was thoughtful as he took her to a hotel room to have sex: “‘I thought you might enjoy it for a chance”’(Atwood 254). Willing to Trust by Kid Cudi is a perfect song to describe his delusion of Offred truly enjoying their forced sex. “I’ve been willing to trust someone, Is this really love what it’s becomin’?” The Commander believes they have a connection when in reality, Offred is taking advantage of him to better her well being in a living hell.

Palaces by Lupe Fiasco: Throughout the Handmaid’s Tale, there are numerous instances where the reader can see how Gilead uses objectification and manipulation to control its Handmaids. Janine, one of Offred’s peers, tells her story about being gang-raped at only fourteen years old at Testifying. Aunt Helena is then quick to demean her by saying, “But whose fault was it?” (Atwood 72) and making the other Handmaids chant, “Her fault, her fault, her fault…” (Atwood 72). Janine breaks down into tears. The next week she takes the initiative to repeat the words to herself, “It was my fault, she says. It was my own fault. I led them on. I deserved the pain.” (Atwood 72). Aunt Lydia and Aunt Helena know that by degrading yourself, you start to lose your identity, strength, and confidence. Lyrics from the song Palaces by Lupe Fiasco write, “We think we’re fortresses, made of stone, But we’re just palaces made out of flesh and bone, waiting for our time to come on home”. When Lupe says “home” he could be referring to heaven, or somewhere with God, in this context. I recognized these lines as something the handmaids say to themselves to break any mentality of rebelling.

Cool Grey 11s by Marlon Craft: Marlon Craft said, “Country of compulsion in a world of illusion”. As the new laws and new government began to take over, women were slowly stripped of their basic rights. It began with the army declaring a state of emergency but escalated to suspending the Constitution. People did not question anything that was happening, there were no protests,“There wasn’t even rioting in the streets. People stayed home at night, watching television, looking for some direction” (Atwood 174). From firing all women from their jobs to forcing banks to transfer women’s earnings to their husbands. America quickly and easily folded into a life of inequality. While genuine Jewish people were able to escape to Israel because they were seen as special: “Sons of Jacob”, most, like Offred, attempted to escape through the Canadian border. Canada and Israel have not interfered with America’s new system. Why weren’t people questioning the government shutdown? Why didn’t other countries recognize the devastation? “Country of compulsion”.

Where did the day go by Wet: Living through the manipulation of Gilead is similar to moving through water: each day that goes by feels slow and endless to Offred. Readers often find her pondering her past but also her surroundings: “the shell of the egg is smooth but also grained; small pebbles of calcium are defined by the sunlight, like craters on the moon” (Atwood 110). If their minds haven’t broken yet, imagination is the only freedom the Handmaids have access to. Where did the day by Wet embodies their experience, “I see a field below, and when I’m feeling low, I open my eyes, and to my surprise, there’s no one inside, I never arrive”. These lyrics serve as a reminder that their fate lies within Gilead’s laws and traditions as it is nearly impossible to escape alive.

I chose to emulate the interactions between Offred, Ofglen, and Japanese tourists through the artistic medium of air-dry clay. Although it was brief, at just under three pages, I was really impressed with this scene because of how it overflows with so many deeper meanings. There are beyond endless ways to perceive even the shortest sentences. Just like how every detail in The Handmaid’s Tale is intentional, I wanted to include that same objective in my own art piece. The tourists stand on the left, each wearing different types of colorful, vibrant clothing. The clay women are wearing multicolored dresses and bright lipstick to represent the freedoms that lie outside of Gilead. They are free to express their identities through what they wear. I also purposefully chose to keep the tourist’s arms sleeveless because of the modest lifestyles that Offred and other Handmaids are forced to live. Along with being forced to dress modestly, Offred’s mind has somewhat conformed to the new norms of her society. “Ofglen stops beside me and I know that she too cannot take her eyes off these women. We are fascinated, but also repelled. They seem undressed. It has taken so little time to change our minds about the things like this” (28). Despite her thoughts of retaliation, moments like these remind readers that Offred, amongst the Handmaids, is manipulated as well. Similar to this example, when she mentions her past, she tends to make subtle disapproving and even disappointing remarks about what she used to wear and what she used to do. When she says “We are fascinated, but also repelled,” it made me think about how Janine’s past was addressed. She was forced to listen to her trauma be invalidated through her peers chanting it repeatedly at her. She eventually broke down physically but allowed herself to fall deeper into Gilead’s deception at the same time. Manipulation keeps the Handmaids from regaining their self-worth, it is meant to keep them timid, diffident, and unlikely to retaliate against Guardians or Commanders. I chose to depict this through my artwork by giving the Japanese tourists faces but keeping Offred’s and Ofglen’s bare. This represents the uniformity that Gilead brings to all women. No Handmaid is allowed to have a sense of self, they are seen as objects, all meant to be treated in the same inhumane way. When the interpreter for the tourists (man in all blue) approached Offred and Ofglen, the presence of objectification became more apparent. The way he asked questions then reported back to his group made the interaction comparable to animals at the zoo. He even asks if they could take photos which is why I crafted a small camera. “I can feel their bright black eyes on us, the way they lean a little forward to catch out answers, the forbidden, we excite them” (29). They, similar to the zoo animals, are heavily segregated from the outside population. Margaret Atwood’s intention behind this scene is to emphasize to readers the true severity of the differences and isolation between the Handmaids and the rest of the world.