1:

“Dark Age” - MGMT

I chose this song for a number of reasons one of them being because it says “Forgiving who you are”. Forgiving could mean to give up the resentment you have toward yourself, wether it be resent for your past or even just the person you are. We see Offred do a lot of or try to forgive herself especially in the context of her mother and her past relationship with luke involving her daughter. This reminds me of chapter 24 after her first meeting with the commander when she decides to forget her past self in order to focus on the present, trying to escape. Is forgiving and forgetting the same thing? (I also chose this song because it feels very dystopian)

2:

“Gallowdance” - Lebanon Hanover

I chose this song because it says “Dance with me the gallowdance” “As long as we’re not hanging”. This reminds me of Offred and her shopping partner as they always observe the wall were the authorities hang those who resist or break rules. I feel like this quote from the song fits perfectly because they “Dance the gallowdance” (break the rules) but “As long as were not hanging” (as long as they dont get caught) they don’t care and are unphased by seeing the body’s instead have a sense if curiosity.

3:

“Downswing” - Superheaven

I chose this song because it says “I’ve been there before, i never want to go back i try to forget, what it feels like to be unattached”. I chose this quote because it symbolizes the forgetting of memories. We see a lot of this as its used in order to gain better control over the female and male populations in gilead, controlled people are easy to manipulate especially if they have not former memory. They even turn or use these memories against them as we saw most recently when someone made a bribe using Offred’s daughter.

4:

“Orbitron” - Duster

I chose this song because it says “You know the clock is ticking down and no ones in control”. I feel Offred would resonate to this alot because she often thinks about and sometimes talks about prayer, but she isn’t convinced that her prayers are heard or who shes praying to. In such a hopeless situation were she really lacks any sort of freedom it would be easy to see each day as nothing more than time passed “The clock ticking down”. In with this state of hopelessness / loneliness it would also be easy to say “no ones in control”. (no ones hearing or looking after me)

5:

“Your Face” - Wisp

I chose this song because it says “You look at me the same but i cant reciprocate”. This quote for me defines a lot of Offred’s male interactions especially with the commander and nick. Throughout the book she has various interactions with Nick a lot of which describe a sense of shared interest in each other. There is one or two scenes were a sexual tension is described “but i cant reciprocate” even if Offred has them same desire she cannot indulge out of consideration for her wellbeing. A similar situation is depicted with the commander as from the first meeting they had he held a agenda, asking Offred to act as if she “meant it” or to “fake it”. The commander desires a romantic relationship so he is using this relationship to simulate his ideal image of one. He “Looks at her the same but she cant reciprocate”.

My artwork is symbolizing how the Commander is replacing Luke in Offred’s life. Seeing as the Commander took her to the hotel where she would have affairs with Luke, I thought it was fitting to draw Offred looking at herself in the mirror side by side, the left being in “the time before,” and the right being in Gilead. Each quote I chose to put on either side of the mirror is significant in that it is her inner thoughts towards each man in these two periods of her life. The quotes highlight Offred’s cynicism, which only grew with her new role in Gilead, as a surrogate for the Commander’s Wife’s child. In the past, she was naive, and was only worried about whether or not Luke loved her, but now, she is thinking of the whole picture, and appears rather resigned about the whole thing.

I thought that each scene had an interesting parallel between the other, in that Offred is, in both cases, the mistress. Moira’s response highlights that aspect: “She disapproved of Luke, back then. Not of Luke but the fact that he was married. She said I was poaching, on another woman’s ground” (171). Offred’s response, however, was to defend Luke and his choices. This was an obvious indicator of her love for Luke. At that point, she didn’t care whether or not he was married, as long as he loved her and she loved him.

In Gilead, the Commander is someone she is serving, and this has led to an obvious power-dynamic that the Commander has been continually abusing to get Offred to fit the roles he wants her to. At first, they were playing Scrabble, and it was more of a transactional companionship. But now, the Commander has fully “corrupted” her, as Moira explains to Offred when they are in the break area: “your gang are supposed to be such chaste vessels. They like to see you all painted up. Just another crummy power trip” (243). The Commander did just that, dressing her up, exposing her skin and face to all at Jezebel’s, before having sex with her in the hotel, forcefully. This all corroborates the theory that the Commander follows a pattern of abuse of power towards the Handmaids in his service, that led the previous Handmaid to kill herself. The Handmaid’s warning, then, may be in reference to that pattern, as Offred asked for the meaning of the Latin phrase “nolites te bastardes carborundorum,” soon before being “invited” to Jezebel’s.

The difference in perspectives on being a mistress of the two men in her life during “the time before” and Gilead really highlight how much Offred has changed as a person due to the societal pressures of Gilead. She has clearly become much more cynical towards men, possibly as a result of her experiences at the Red Center, where she was taught that men are uncontrollable and that she and the other Handmaids need to have restraint. But the overall differences in treatment of Offred by both men who she is having an affair with further highlight the differences in “the time before” and Gilead that impact Offred and her physical and mental wellbeing directly.

Girl Afraid—The Smiths

The song “Girl afraid” by the Smiths” is an overlooked gem within The Smiths catalog. Released in 1984 the song contains the trademarks of every song by the band at that time. From the up intricate guitar and moody singing typical of The Smiths. I would have never compared or drawn any parallels to this song and to “The Hands Maid Tale” until I delved deeper into the lyrics. The song details the miscommunication between a boyfriend and girlfriend, delving into their thinking. The lyrics of this song remind me of the relation between Offred and the commander as well as the relationship between Nick and Offred. In the first verse of this song Morrissey sings the words
“Where do his intentions lay? Or does he even have any?” This line reminds me of how Offred felt when the commander first started to take interest in her. After the verse in the first refrain another line sticks out to me. “In the room downstairs he sat and stared, In the room downstairs he sat and stared” This immediately reminds me of the scene in THT in which the commander entered Offred’s room and said nothing (chapter 8 page 49). Another line in the first verse stuck out to me. “He never really looks at me, I give him every opportunity” This line reminds me of Offred’s relation with Nick nearing the end of the book. The lovers’ relationship being strained and filled with miscommunication similarly to the boyfriend and girlfriend in the song. This line of the song especially reminds me of the scene at the end of chapter 36 where Nick refuses to meet eyes with Offred.

Naomi—Neutral Milk Hotel

Written and released in 1996 “Naomi” by Neutral Milk Hotel is a song of obsession. Originally written by Jeff Mangum, the song is about his obsession with Naomi Yang, a bassist of another band. The lyrics focus on the feeling of obsession and many angelic/religious themes remind me heavily of the relationship between the commander and Offred. One particular section of the song that sticks out to me. “I’m watching Naomi, full bloom”… “One billion angels come and hold her down They could hold her down until she cries” This line reminds me of the Commander’s desire for Offred but it being through his puritan view of the world. Not seeing her as a person but an experience. In chapter 129, he even hints as to thinking of Offred and the handmaid as nothing but pets. “If your dog dies get another”-187

While I’m Waiting—Fleeting joys

Released in 2006 “While Im Waiting” by Fleeting Joys is an incredibly emotional and melancholic song. With heavily distorted guitars and somber singing this song creates a deep sense of longing and was the first thing that came to my mind when doing this project. The song reminds me of Offred’s thoughts of Luke and her child.  With the song's one repeating lyric “I think I’ll let it go’’ that is broken up by a few lines. One line that made me think of Offred is. 

“So happy you’ll never come down, While I’m waiting, I want you” This line directly made me think about chapter 18 of The Hand Maid’s tale in which Offred imagines the different scenarios Luke could have been in after they parted ways. Doing this so nothing surprises her if she ever hears from Luke again thus the lyric “So happy you’ll never come down”.

Julie Profumo — Cleaners from Venus

This theme of trying to escape a bad situation no matter what is prevalent in The Handmaid’s Tale and there was only one song I could think of that represents this theme. Released in 1985 “Julie Profumo” by Cleaner from Venus is another melancholic and somber song I’ve added to this playlist. With lyrics that detail the singer leaving his home to go to England due to the changing times. With lyrics like “Time is racing, Shadows waiting” there is a great sense of urgency in this push for change. This song reminds me of Moira. Her being represented through the lyrics in the chorus. “Someday soon I will forget this junkyard”…”It’s a changing world and I can tell you one thing, Time is racing” Moira is constantly pushing for freedom from Gilead. From holding an aunt hostage and stealing the aunt’s clothing to escape to choosing to be a prostitute. Moira refuses to be stuck in the junkyard that is Gilead.

I Can See It (But I Can’t Feel It) — My Bloody Valentine

The last song in my playlist “I Can See It (But I Can’t Feel It)” By My Bloody Valentine has to be one of the most depressing songs I have on here. Released in 1988 this song is thought to be about someone who leaves their relationship with someone because they thought they were dragging the other person down. With very somber and sad singing with the jangly despondent guitars this song explores some very deep emotions. This song as a whole reminds me of the relationship between Offred and Luke. with the line “Don’t know when I will leave you again, Grab a reason, And I’m dragging you down” in the verse reminding me how before the present events of THT Luke and Offred were willing to make sacrifices for each other and their daughter. With the part of the song with the other part of the verse with the lyrics “Shot in the head I can see I can see it But I can’t feel it” Reminding me of Offred’s thought process on thinking of Luke (chapter 18). imagining him dead or imprisoned or making it to freedom so if she hears any bad news about him, she will feel nothing.

The artwork I have chosen to create is inspired by Margaret Atwood’s dystopian novel “The Handmaid’s Tale”. The artwork captures the essence of the protagonist in the novel Offred, in a manner that encompasses her true internal conflicts and character development. The central theme of the artwork revolves around the impact of the theocratic, authoritarian society, Gilead, on Offred’s identity and the transformation of her life. In this image, Offred wearing a handmaid’s attire gazes into a shattered mirror that symbolizes the contrast between her life before and after Gilead’s rise as a society. The right half of the broken mirror represents Offred’s life before Gilead. This side has warm, vibrant colors, a significant contrast to the bleak, muted tones of the left half of the mirror. This half depicts her as a free woman, surrounded by her own reflection in various roles as a mother and an individual with a sense of self worth. The reflection of her daughter is very significant as it represents a major connection to her maternal identity and that contrasts the physical, enforced separation Gilead has bought. The left half of the mirror shows Offred as a handmaid staring emotionless into a faded photograph of her daughter. This side of the mirror reflects the profound impact of Gilead on Offred’s life. Her identity has been reduced to a role of a fertility vessel for the ruling class. She has been stripped of all individuality and personal agency. The choice to wear the red robe and white bonnet further illustrates the systematic suppression of identity and character. I chose to include a shattered mirror as it serves as a metaphor for the brokenness of Offred’s life and her fractured sense of identity. Gilead’s authoritarian rule has shattered the essence of her existence and has left her feeling trapped between two alternate worlds. The readers often witness her emotional journey and internal conflict when reflecting upon her past and present. The broken mirror also hints at a possible reconciliation between her past life and her present situation. The crack is noticeable and suggests that despite the harsh reality of Gilead, fragments of Offred’s past life will always linger. The faint image of her daughter in the photograph is a beacon of resilience and hope. It ultimately represents the determination and desire to reunite with her child. I tried to capture the essence of Offred’s character and the detrimental transformation she experienced in Gilead. This artwork has the potential to convey the physical and emotional trauma inflicted upon Offred but also highlights the theme of resilience and determination in individuals in the face of adversity and oppression.

In chapter 11, Offred visits the hospital for her monthly check up. She is told that her time to have a child is beginning to run out. This is obviously because she is getting older and they believe she will soon no longer be able to have children. As the doctor is doing her check up, he comes close to the sheet over her face and whispers “I could help you”. This confuses Offred as she doesn’t know what he means. He mentions he has done it before and begins sliding his hand up her leg. This is a very uncomfortable chapter to read. Offred is very scared and doesn’t know what she is supposed to do. She declines his creepy offer and leaves the hospital feeling fear and confusion. The chapter ends with the line “It’s the choice that terrifies me. A way out, a salvation”.

I believe that this chapter, though short, connects to a much larger theme in the story. Later, the Commander and Offred have a debate about what love is. Offred questions why men did what they do, asserting power over women. The only purpose for women in Gilead is to have children and to be more traditional. The Commander tells her that men essentially just got bored of women and needed something else. They needed to be more powerful over women and show their masculinity.

The connection between these two is that love is an entirely lost concept for these men. There are no more slow burn relationships. There is no more time for these people to get to know each other, go out, or find out what kind of person they are with. The Commander believes that it is better this way as men were bored with doing that and needed to just get it over with. There is no happiness nor pleasure anymore in this society. The concept of consent is something that has been entirely erased. Women no longer have a choice on what happens to their bodies.

The ceremonies are times where the Commanders have sex with the handmaid’s to see if they bear children. Offred mentions that sex is no longer something that has meaning or any pleasure at all. It is a job now, one that she has no power or choice in. She says,”It has nothing to do with passion or love or romance or any of those other notions we used to titillate ourselves with”. She also says that orgasms are not thought necessary anymore. It is a completely pleasureless act for the women and does a lot of harm to them, both physically and mentally. She is not allowed to even look at the Commander. She is forced to have sex with him so that he gets a promotion from a kid she doesn’t get to keep nor name. Another part of the ceremony is that the Commander’s wife must be in the room while he is having sex with Offred. She is forced to hold Offred in her legs as her “husband” has sex with another woman so that she may have a child. When that child is born, it goes to the Commander’s wife, the handmaid has no control over this.

Consent, choice, and love are three major things that have been taken away from these women. The men essentially laugh in their faces about it, or are too numb to it to understand why there is an issue. The doctor offering his “services” to Offred and the ceremony with the Commander are the exact same thing. In both of these cases, she mentions having a choice. That idea of choice is a form of brainwashing put on these women. There really is no choice, regardless of what she feels. No matter what, she is going to be forced to have a baby with a man she does not love in a way that does not give her pleasure. On page 94, she says “Nor does rape cover it: nothing is going on here that I haven’t signed up for”. There was no way for her to sign up for this, this was going to happen regardless. The entire ceremony leads up to this, and the ceremonies are required. There was no choice nor a form of consent. Towards the end of chapter 39, the Commander begins to do the same thing as the doctor. He rubs his hand over her leg and she feels very scared about it. He starts taking their clothes off. She says, “I lie there like a dead bird”. The chapter ends with her reminding herself to fake the pleasure, as there will be none involved.

In conclusion, the men in Gilead have no care for these women. They don’t care about consent or what the women are actually feeling. They only care about themselves, their promotions, and the pleasures they feel. The women are left with nothing but pain and the faint hope that they have control over what happens to them.

In The Handmaid’s Tale, Margaret Atwood introduces the reader to Offred’s life through the aesthetics that have been imposed on her. The present of the text starts in the second chapter, with Offred’s description of the room that she wakes up to each day. Offred’s room is almost entirely plain and she glances over the appearance of each item without a second thought until she reaches the rug. The rug is made from braided rags and Offred describes it as “the kind of touch [believers] like: folk art, archaic, made by women, in their spare time, from things that have no further use. A return to traditional values.” (page 7)
“Folk art” as a category diverges greatly from any other form of art in the way it survives. Art that exists outside of the label of “folk” does so by at some point becoming contemporary, part of a specific moment or movement. Genres of art tend to burst into the zeitgeist with frenetic, cultural energy and largely fade within a century, stymied by competition with other genres. For art to be a part of the “zeitgeist” (time ghost in English) is to be mortal in a strange way. That art can still be an inspiration for others, so it isn’t lost to the future entirely, but an undeniable part of its spirit is trapped in a specific time. Folk art can exist outside of the zeitgeist and thereby last because it keeps a steady and simple ambition: tradition. To be traditional means to plow forward through time, adapting to the changing world, while still maintaining a strong identity.
The inertia of tradition succeeds in keeping folk art alive because it becomes embedded within the values of the people creating the art. Outside of its role as an informer of culture, art is self expression. As a form of expression art can be a way for people to proudly display the things that they believe in. Traditional art declares allegiance to the past, inheriting values from the past and perpetuating a stagnation of cultural development. American folk art is by no means restricted to any one group of people or inherently conservative, but it is certainly a useful tool for some who seek to foster a conservative culture. Within American culture, the values that are prioritized for conservation are mostly centered on patriarchy.

Delia’s Gone - Johnny Cash

This song is exemplary of the type of song known as a murder ballad. This type of song focuses on a murder, often the murder of a woman by her significant other who perceives her as having some sort of immoral behavior that warrants her death. In “Delia’s Gone” Cash sings that he shot Delia because she was “low down and triflin’”.

Beer For My Horses - Willie Nelson, Toby Keith

This song displays the way that much art focused on tradition has an idyllic view of the past even if it is extremely violent. The song contains the lyrics “back in my day, son A man had to answer for the wicked that he done … Find a tall oak tree, round up all of them bad boys Hang them high in the street for all the people to see that”, referring to lynchings.

The society of Gilead uses folk art as a tool for maintaining gender hierarchy. In Gilead, having a patriarchy is a struggle for power that is reliant on the belief that men were created by God to be more responsible and therefore superior to women. The illusion that power is held ultimately by God, and not men is reinforced by placing some limitations on men as well as women. But, God’s only action comes after death, so in the dynamics of Gilead control is actually exerted by men. Aesthetics are an important part of the mythology that upholds patriarchy, so any art is limited to fit the value of subservience in women.

You’re Going to Miss This - Trace Adkins

Adkins’ song gives an example of the type of restrictive gender roles that have been put on women in North American history. The song is centered around the life a woman wants to have and the full course of her life from turning 18 is focused on raising children and serving her husband.

Red Solo Cup - Toby Keith

Keith’s dong also exemplifies the harmful gender roles of country music, but this time it focuses on the limitations put on men to avoid any sense of femininity. “And you, sir, do not have a pair of testicles If you prefer drinking from glass”

As a piece of folk art, Offred’s rug represents the “traditional values” that strip Offred of her autonomy and grant power over her life to men. These values are placed in her room without her having any say in it. Art is used here to underpin the ways that the patriarchy in Gilead has removed control from Offred’s life. On page 139 the commander refers to Offred’s room as her house and that is essentially how it functions. In America a house serves as a person’s domain, ownership of a space allows a person to exercise their freedom to express themselves as they please. That freedom has been taken from Offred because even in the space where she has some semblance of privacy, she is not allowed to express herself, all expression is taken care of for her by a rug in a blank room she describes as “government issue” (page 7).

Follow Your Arrow - Kacey Musgraves

This song is a commentary on the gender roles that appear in country music, particularly the limitations put on women that clearly are only meant to control them. “If you save yourself for marriage, you’re a bore If you don’t save yourself for marriage, you’re a horrible person If you won’t have a drink, then you’re a prude But they’ll call you a drunk as soon as you down the first one”.

Rogers, A. (n.d.). Sexism In Unexpected Places: An Analysis of Country Music Lyrics. University of South Carolina. https://sc.edu/about/offices_and_divisions/research/news_and_pubs/caravel/archive/2013/2013-caravel-sexism-in-unexpected-places.php

Literary Hub November. (2018, November 14). On the Complicated Legacy of American Country Music. Literary Hub. https://lithub.com/on-the-complicated-legacy-of-american-country-music/

Smith, C. E. (2021, July 21). The Real History of Murder Ballads in American Music. Esquire. https://www.esquire.com/entertainment/music/a37078255/history-of-murder-ballads-stagger-lee-true-story/

Jacobs, T. (2019, May 7). Country Hits Increasingly Objectify Women and Glorify Whiteness. Pacific Standard. https://psmag.com/news/country-hits-are-getting-more-misogynistic-according-to-new-research

In The Handmaid’s Tale by Margaret Atwood, there is a theme that pregnancy holds great significance throughout the story. The scene above is describing the moment when the main character Offred and another handmaid Ofglen went to a store named Milk and Honey with coupons for certain items. They encounter Ofwarren, also known as Janine; her real name. Both Offred and Ofwarren are outlined in red, to highlight whose point of view the readers are looking through, and the main focus. Atwood states, “As we wait in our double line, the door opens and two more women come in, both in red dresses and white wings of the Handmaids. One is vastly pregnant; her belly, under her loose garment, swells triumphantly. There is a shifting in the room, a murmur, an escape of breath; despite ourselves we turn our heads, blatantly, to see better; our fingers itch to touch her. She’s a magic presence to us, an object of envy and desire, we covet her.” (p. 26)

This quote strongly explains the importance and significance of pregnancy. The general thought the women were having as they waited in line is expressed by the thought bubble above their head. It was an uncommon thing for pregnant women to leave the house to go shopping. These duties are handed off to others when the handmaids get pregnant. The hands reaching out towards the pregnant belly represented certain key phrases such as ‘our fingers itch to touch her’ and ‘an object of envy and desire’. When reading about pregnancy the first time, the women seemed to have yearned for it. This is very important in the story because pregnancy is a representation for survival. In an interaction between the doctor and Offred, readers can begin to understand how serious it is. Atwood writes, “There are only women who are fruitful and women who are barren, that’s the law. ‘Lots of women do it,’ he goes on. ‘You want a baby, don’t you?’ ‘Yes,’ I say. It’s true, and I don’t ask why, because I know. Give me children, or else I die.” (p.61)

Throughout the reading it is clear that the majority of women in Gilead are seen as objects. In order to survive, to be ‘useful’, they must be able to produce a healthy child in this corrupted system. It is important to include that the women in Gilead have adjusted to an entirely new lifestyle, norm, and purpose in life after society changed. The freedom of choice has been eradicated in Gilead, and the community is seemingly based on fertility. Women have been portrayed like objects and reproduction machines. In the Milk and Honey store, Offred along with the other women around her, couldn’t keep their attention off of Janine. The bubble is a collective thought between them, and I wanted to express that heavily in the art piece. It became a common vision they shared. The leaves by the closing door they came through represents a recent entry into the store when everyone’s focus shifted to Janine. As the readers learn more about the system throughout the story, the true value of becoming pregnant is revealed.

Violent Crimes -Kanye West In this beautiful song, Kanye reflects on his (learned) attitude toward women throughout his life. He admits with disgust to his past life of misogyny and objectification toward females and refuses to allow his daughter to experience the same. He raps about the birth of his daughter bringing him to the realization of his wrong doings, and how becoming a father taught him to value women as complete people who can think and make decisions for themselves; not objects for him and other men to use for their misogynistic pleasure. He wants to protect her from this male dominated world. His remorse is expressed specifically in this line, ‘Father forgive me, I’m scared of the karma. ‘Cause now I see women as somethin’ to nurture Not somethin’ to conquer.’ Also, I think Kanye realizes that women’s rights are volatile, and are currently being stripped away bit by bit by our government and judicial system. This song demonstrates his willingness to fight for the deserved rights of his daughter and all females.

I think Margaret Atwood has told a story that’s parallel to Kanye’s journey.

In the society of Gilead, women were very much controlled to meet the needs of men. Unwomen are the lowest class, they are women who cannot have children and therefore have no value. Females could easily be classified as Unwomen at the whim of any man. The text states, “He could fake the tests, report me for cancer, for infertility, have me shipped off to the Colonies, with the Unwomen.” Because women in Gilead are only valued for their ability to have children, those who cannot are not even considered women.

There’s something deeper Atwood is trying to say that Kanye is as well.

Throughout the story we learn that Gilead hasn’t existed for very long. Offred leads a full life in regular day America and can clearly remember times before Gilead. A time where women fought for rights that they thought they deserved. That means society made this shift into handmaids and Gilead only a few years before, at most. It’s hard to believe that centuries of suffragette work could be undone in only a few years; but that is exactly Atwoods point. She’s reminding us just how quickly society can regress, reminding us how volatile and in danger our present day civil rights are.

Kanye is doing the same. He’s telling us how quickly his entire world view changed just because of one event. The birth of his child. Handmaids in Gilead exist because of how rare fertility is. While the birth of Kanye’s Daughter made him see women as complete people, the lack of childbirth in America turned society’s view of women into only objects for birthing children, and so Gilead was born. The stories are two sides of the same coin.

You must Love me - Jay Z In this song, Jay Z raps about his real life experiences of being a kid, shooting his brother over jewelry. He raps, “But the adrenaline and my ego hurt combined Drove me berserk, saw the devil in your eyes High off more than weed Confused, I just closed my young eyes and squeezed What a sound, opened my eyes just in time To see you stumbling to the ground Damn what the fuck I done now? Runnin’ around in a circle thinking I’m assed out Hot gun burnin’ my waist, ran straight to Jaz’ house” Jay Z then raps about his brother immediately forgiving him and specifically asking to see him in the hospital just a day later. He raps, “Left the scene how could I go out that way Still you asked to see me in the hospital the next day You must love me”

This reminds me of the theme of sorority in the Handmaid’s tale. Specifically, Offfred’s interactions with Janine. During the testifying ceremony, Janine shares her experience of being gang raped as a child with the other handmaids. In response they shame her and claim that she brought it upon herself. On page 72, the text states, “It’s Janine, telling about how she was gang-raped at fourteen and had an abortion… But whose fault was it? Aunt Helena says, holding up one finger. Her fault, her fault, her fault, we all chant in unison. Who led them on? Aunt Helena beams, pleased with us. She did. She did. She did.”

Offfred and the other handmaidens in this scene represent Jay Z, attacking, wounding and betraying their sister. But just like Jay Z’s brother, Janine forgives them and they unify in the hospital while helping with the birth of Janine’s child. One page 127, the text states, “We stand between Janine and the bed, so she won’t have to see this. Someone gives her a drink of grape juice. I hope there’s wine in it, she’s still having the pains, for the afterbirth, she’s crying helplessly, burnt out miserable tears. Nevertheless we are jubilant, it’s a victory for all of us. We’ve done it. In both stories, the parties wrong doings are forgiven , because it’s brotherhood/sisterhood that keeps them together.

The Revolution will not be Televised - Gil Scott Heron When I think of Moira, I think of this song. Well, it’s less of a song and more of a call to action, Gil Scott Heron uses his platform to persuade those standing on the sideline to join the civil rights movement and fight against oppression.

Before Gilead, Moira was a vocal feminist, fighting for the downfall of American society’s misogyny. After Moira escapes the camps, Offered reflects on her feelings toward her. On page 133, the text states, “Moira was like an elevator with open sides. She made us dizzy. Already we were losing the taste for freedom, already we were finding these walls secure. In the upper reaches of the atmosphere you’d come apart, you’d vaporize, there would be no pressure holding you together. Nevertheless Moira was our fantasy.” Just like Heron, Moira is a symbol proving you can fight against your oppressors, and just like Heron, Moira makes the HandMaids content with their position feel uncomfortable.

Feel it in the Air - Beanie Sigel Beanie Sigel raps about his paranoia and the guard he keeps up while moving in the street. He describes it as a kind of spidey sense that keeps him out of danger. He raps,”Somethin’ going on, I feel funny Can’t tell me nothin’ different, my nose twitchin’ intuition setting in like Steve vision I still close my eyes, I still see visions Still hear that voice in the back of my mind So what I do? I still take heed, I still listen…I read between the lines of the eyes and your brows Your handshake ain’t matching your smile, aha, you niggas foul (I can feel it in the air)” This song reminds me of Offred’s mistrust. Throughout her narration she talks about seeing through people’s true intentions. For example on page 136 the text states, “ But there must be something he wants, from me. To want is to have a weakness. It’s this weakness, whatever it is, that entices me. It’s like a small crack in a wall, before now impenetrable. If I press my eye to it, this weakness of his, I may be able to see my way clear. I want to know what he wants.” Just like Beanie Sigel, Offfred knows that people usually aren’t what they seem.

Fake Love - Drake Drake sings about the fake love people show him because of his fame and power. This reminds me of the way Offred acts toward the commander, on page 140, the text states”I go to him and play my lips close, against his… He draws away and looks down at me. There’s the smile again, the sheepish one. Such candor. Not like that, he says. As if you meant it.” The Commander recognizes that Offfred doen’t truly care about him, and only kisses him because of the power he holds over her.

The Handmaid’s Tale by Margaret Atwood is written about women in this fictional dystopia and how they are treated, but while reading, I see many instances that remind me of my life. As a woman, I have experienced my share of harassment. It began at a very young age. I remember at elementary school, one guy in my class grabbed my chest and tried to play it off as an accident. I didn’t know what to do. At the young age of 10, I was afraid to speak up, scared I’d be told I’m overreacting simply because it was an “accident”. All I did was slap him and walk away. It was all I could get my body to do.

In our society, when a woman is assaulted, the question is always “what were you wearing? “Why didn’t you fight him off?” “Maybe you gave him a signal that you wanted it.” The blame is somehow always put upon the victim, and not the aggressor. The Handmaid’s Tale has the same thought process. When Aunt Lydia says “They can’t help it. God made them that way but he did not make you that way.” (45) When she says this, she is shifting the blame onto the women, saying that it is in man’s nature to behave this way. That it is on the women if they are raped or assaulted. This makes women afraid to speak out, like how I was.

As I got older, it only got worse for me. Being touched without my permission became a constant recurring thing in middle school. From the groping of my chest, to a guy flipping my skirt up and running away. I remember confronting that guy the next day with my friends around me. Once I was done speaking, I pushed him to leave. My friends clapped and encouraged me that I did the right thing. But at that moment I did not feel empowered. I felt weak, similar to how the women in this book feel.

Being raped is a fear I have that is always in my mind. When I am alone taking my train and bus home, I always have that thought in my head. “Is he coming over here?” I keep my head bowed to act like I’m on my phone as I glance up to see where he goes. “Why is he looking at me?” I move so I’m out of his line of sight. If there’s a group of guys, walk fast and don’t make eye contact. If he says hi to me, don’t respond. But then again, no reply could put me in just as much danger.

Countless women have been killed for simply saying no. No to giving out their names, their numbers, or for even not smiling back when spoken to. “Sometimes it’s dangerous not to speak” (29) is a quote I deeply relate to. When you live in a world where anything could set off a man and get you killed, it’s terrifying. When women are catcalled, we are expected to take that as a compliment. We have to hide how we actually feel just to get home safely. The ending scene in chapter 11 reminds me of this. “I must leave the impression that I am not offended.” (61) When I had to read chapter 11, I could not read it. Having to read a descriptive section of someone getting assaulted made me cringe. I can never read or watch a rape scene it just makes me sick. I do not like having to imagine that. I had to skip around that page.

The women in the Handmaid’s Tale society main role is carrying children. It is so important that if you are not able to have kids, you are now an Unwoman and get sent to an island. You are deemed useless. Being sent there is like a punishment. It’s something the women want to avoid. This is clear throughout the book, but is evident after Janine gives birth in chapter 21. Since she has proven herself still useful to this society, “she’ll never be sent to the Colonies, she’ll never be declared an Unwoman. That is her reward.” (127) And that is it.

The need for the woman to bring children into the world as the only thing that makes them useful reminded me a lot of how society in our world is. Although we live in a time where women have more choice of what they want to do with their lives, having kids is always expected. I hear this from my Mother often, as she continues hoping I’ll change my mind and want kids at some point in my life.

Life as a woman is like constantly walking on eggshells just to be safe, just like in The Handmaid’s Tale. The book is a mirror of reality. I see that very clearly.

“The Handmaid’s Tale,” written by Margaret Atwood, has drawn from many historical sources to flush out the events and world of Gilead. This is because Margaret Atwood herself was born on November 18, 1939. She has seen drastic changes in society and put some historical parallels into “The Handmaid’s Tale”. Atwood said, “ When I wrote The Handmaid’s Tale, nothing went into it that had not happened in real life somewhere at some time. Some key events that would inspire Atwood in her life are World War II, the beliefs of Nazi Germany, and the rise of the conservative Christian right in the 1980s. In this essay, I will be focusing on the two influences that helped shape the world of Gilead.

Margaret Atwood was born three months after the start of World War II. Her early childhood was filled with memories of seeing her neighbors being sent off to war. World War II, more specifically, Nazi Germany, inspired the world of Gilead in major ways. The most direct parallel between Nazi Germany and the world of Gilead are the handmaids and the extra wives of SS men. Heinrich Himmler was an avid supporter of polygamy. The Nazis claimed that monogamy was satanic and created by the Catholic Church. Many high-ranking Nazi officials would claim these extra wives or mistresses. This was called the Lebensborn program. These women would be used to birth children of “racial purity”. You can draw clear parallels between the SS men, the commanders, the handmaids, and the extra wives. During the creation of “The Handmaid’s Tale,” a movement raged through America that sought to return America to “traditional” values. This movement was known as the conservative Christian movement. The Conservative Christian Right is a movement dating back to the 1940s and is the second major inspiration for the society of Gilead. Gilead is hinted at to be America throughout the story.

“We had flannelette sheets, like children’s, and army-issue blankets, old ones that still said U.S.”- page 4

“The Handmaid’s Tale” takes place in a theocratic nation where belief in Christianity is compulsory, and gender roles are rigid and driven to their extremes. In Gilead those who go against its norms will be either banished, killed, or beaten ruthlessly.

“What they are hanging from is hooks. The hooks have been set into the brickwork of the Wall, for this purpose.”… “Each has a placard hung around his neck to show why he has been executed: a drawing of a human fetus. They were doctors, then, in the time before, when such things were legal.” – Page 32

Gilead is the ideal American future for Christian conservative movement. In the book, there are characters directly based on key figures of the conservative Christian movement. For example, you have Serena Joy, who was based on Phyllis Schlafly, an anti-feminist. You can see this in the book.

“She was good at it. Her speeches were about the sanctity of the home and about how women should stay home. Serena Joy didn’t do this herself. She made speeches instead, but she presented this failure of hers as a sacrifice she was limiting for the good of all.” Page 45

This is a direct parallel to the real woman. Phyllis Schlafly was a woman who preached the same beliefs and was a key figure in the conservative Christian right.

“The Handmaid’s Tale” is a cautionary tale in addition to being a brilliant work of fiction. “The Handmaid’s Tale,” written by Atwood, presents a society in which social emancipation has only regressed while time has advanced. Atwood draws these stark similarities to actual historical occurrences. From Nazi Germany to the conservative Christian movement, Atwood was warning the reader against allowing these regressive and conservative ideas to corrupt and swallow them. Hopefully after reading “The Handmaid’s Tale” you will take this message to the real world.