Margaret Atwood has a very interesting way of describing Offred’s relationships in The Handmaid’s Tale. Offred is one of the fortunate women in Gilead that remembers the past life well. She was the mistress in Luke’s marriage and then they got married and had a baby girl. During the transition into this new society, the whole family is separated. Currently she is placed into the home of the Commander and Serena Joy. This is where she meets Nick. Nick’s role is unclear but he does wear a Guardian uniform. During their first interaction, “He takes a final puff of the cigarette, lets it drop to the driveway, and steps on it. He begins to whistle. Then he winks. I drop my head and turn so that the white wings hide my face, and keep walking. “(18) which then Offred is confused about his choices. Not only is this interaction very creepy but Offred’s first thought is to question him on his authority. I find it a little odd that Nick just winks at her specifically like does he do this often or is it just her? Margaret brings this interaction to life by the build up of Gilead. A man that isn’t the Commander is winking at a handmaid. From this point on, it just gets worse.

Nick works under the Commander just like everyone else but he seems comfortable in his position. The most off-putting moment is when he goes to find Offred at night and they end up in the sitting room. “He puts his hand on my arm, pulls me against him, his mouth on mine, what else comes from such denial? Without a word. Both of us shaking, how I’d like to.”(98) and they end up making out. Firstly this is extremely weird. I think it is interesting the dynamic of this situation. Offred knows that this is illegal and she could get in trouble if anyone found out. She is basically an object to the men in this society and she is portrayed with no significance other than to reproduction. Offred knows that women “are two-legged wombs, that’s all:sacred vessels, ambulatory chalices.”(136). I think back into our society about how women are manipulated in relationships and I feel like Luke has manipulated Offred. I think this is how cheating happens. Even though that is literally what happened between Luke and his ex wife where he left her for Offred, for some reason Offred is still in love with Luke. Maybe Offred just likes the idea of Luke and their past relationship.

Secondly, she is married… like she is so obsessed with her husband Luke that why is she kissing another man. To add on when Offred thinks “It’s so good, to be touched by someone, to be felt so greedily, to feel so greedy. Luke, you’d know, you’d understand. It’s you here, in another body.”(99). She begins to imagine Nick as if he is Luke but they are clearly different people. Is it because she misses Luke or maybe she feels guilty for kissing another man that she has to think about Luke? Why is Offred kissing another man but yet thinking it’s her husband? This love triangle thing is so confusing since Offred is obsessed with Luke but yet can’t see him. She doesn’t even know if he is alive. I will never understand this situation because when you love someone, you should only be able to focus on them. Even when Offred is constantly thinking about Luke, she proceeds to have this intimate connection with Nick and to make it worse, it’s also the Commander too.

The Commander holds a level of power that Offred will never obtain in Gilead. The whole love triangle plus the Commander is a mess if we look at it from a power perspective. Although we don’t know where Luke is, we can assume he has more power than Offred. Offred does not necessarily have power but her position is very important since she is a handmaid. I think that the growing love story between Offred and the Commander is cute but also risky. There is also an aspect of their relationship where the Commander is lonely. The Commander is finding someone to fill his void since the Commander’s Wife does not connect with him anymore. Even though this is not the first time the Commander has messed with a handmaid, Offred brings this situation into a different light as she is obsessed with Luke and also has a small thing for Nick which we can assume is the Commander’s right hand man. The entire love square thing is confusing but yet interesting in the way everybody reacts to each other.

This drawing depicts Offred from the Commander’s perspective. It takes place in the Commander’s study on the night they go to Jezebel’s, and shows Offred seated across from the Commander at his desk, just after he has given her makeup.

When Offred is with the Commander, she often seems conscious of her face and facial expressions. During their first secret meeting, when he asks her to play Scrabble with him, she narrates, “I hold myself absolutely rigid. I keep my face unmoving” (p. 138). The night they go to Jezebel’s, when Offred is going into the Commander’s study, she says, “I knock on his door, hear his voice, adjust my face, go in” (p. 229). To Offred, facial expressions seem like a point of vulnerability, where her true emotions can be seen. She frequently adjusts her expressions, as if putting on a mask in an attempt to hide these feelings. This action is seen most often with the Commander, likely because of the extreme imbalance in their power dynamic. In my illustration, I depicted Offred’s face as completely blank, because it sometimes feels as though this blankness is what she aims to achieve. With a blank face, the Commander would not be able to discern any of her thoughts or feelings.

I also noticed the idea of faces as a point of vulnerability and intimacy during the first Ceremony after Offred and the Commander start meeting in secret. During this scene, Offred recounts, “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 single-minded journey” (p. 162). Here, the Commander’s movement to touch Offred’s face displays the shift in the pair’s relationship, the new connection that had previously been absent. But Offred pulls away. To her, their relationship is not one of intimacy. She has to be conscious of what this action could give away to Serena Joy, as she is more likely to be punished for it. In pulling away, she is again pulling back and hiding her face from the Commander.

In my illustration, on the Commander’s desk is the makeup that the Commander gives to Offred the night they go to Jezebel’s. This moment felt significant because we see that despite all of the hiding that Offred does around the Commander, he doesn’t really care about seeing her real face, or her real emotions. He only cares about her face looking the way he wants it, and that night, he wanted her in makeup. Although the makeup ended up helping Offred fit in at Jezebel’s, initially, it felt like the Commander was picking out Offred’s face for her that night, deciding on his own how he wanted her to look. This is one of many examples in The Handmaid’s Tale of Offred having other people decide what she should do, what she should think, and how she should act.

The paragraph I wanted to focus on comes from Chapter 34. On page 219 in the middle, it opens with “We’ve given them more than we’ve taken away, ” said the Commander, “Think of the trouble they had before. Don’t you remember the singles bars, the indignity of the high school blind dates? The meat market. Don’t you remember the terrible gap between the ones who could get a man easily and the ones who couldn’t? Some of them were desperate, they starved themselves thin or pumped their breasts full of silicone, and had their noses cut off. Think of the human Misery.”

There’s a lot to take in from just that small little paragraph, but I think some really key things are “ We’ve given them more than we’ve taken away”. “Some of them we desperate, they starved themselves thin or pumped them full of silicone.” The first line makes me think about all the different real-world aspects like taking natural resources or destroying the climate that we have taken from society. I think these ideas come from the Commander because he feels the need to use his authority to oppress women and be in power. I see these ideas paralleled in our society today through things like plastic surgery and eating disorders. The use of imagery on social media has also influenced it in a huge way as well. To a further extent, the Commander sees it as an opportunity to be a doctor or surgeon in the story, and the women and their bodies are his patients that he can make “perfect” in his vision.

Additionally, another way I specifically said this line was, “Don’t you remember the single bars, the indignity of the high school blind dates”. It makes me think back to “simpler times” or “life before covid” in a way. These ideas come from the Gileadian concept of a patriarchal society and familial structure. The Commander’s role and behaviors have clear parallels to today’s retrenchment of women’s health rights and control of their bodies. Ironically, the same evangelical forces that we see guiding Commander are present today in the positions of many politicians. When I read the entry “We’ve given them more than we’ve taken away”, in the context of the children of Ham and being a person of color this particular passage resonated with me because of the current rollback of diversity, equity, and inclusion initiatives across this country. I find them problematic because I find the character Offred to be nothing more than an indentured concubine. Atwood wrote it this way I believe, because she envisioned how theology would mix and then overtake democratic institutions. This environment is found the perfect breeding ground for many of the ideas that foster the creation of Gilead.

Additionally, I think Atwood writes the text in the way she does to address the issues in society in her own unique way. As we know the author uses the commanders as a symbol of power in the book, and, specifically, how those in power are often able to break the rules they set without repercussions. The character of the Commander also demonstrates how appearances are deceptive: those who advocate for and benefit from the oppression of others are often unassuming. We see many examples in the real world of individuals or groups that act just like the Commanders. We can take politicians and wealthy people. Donald Trump for example who has had 4 indictments has been able to avoid the repercussions of the law. He was directly responsible for what happened on January 6th and had received no offenses from the law. These ideas had the power to create Gilead because I think Atwood either envisioned or already thought something like Gilead become true. Gilead is an authoritarian state that limits freedom, suppresses opposition, and maintains control over information. This reflects how authoritarian regimes have utilized propaganda, censorship, and repression to maintain power throughout history. narrative includes elements of historical oppression and women’s treatment throughout history. It makes references to the Salem witch trials, in which women were systematically demonised, informed on, and violently punished for being ‘different’ to puritanical norms. the suffrage movement, and the status of women in diverse societies. reflection on how historical circumstances can inform and affect current situations. which is another reason I believe Atwood writes her texts the way she does. To close out I found that from this chapter in general was very interesting in terms of the ways that Offred talks about her relationships and how she deals with love. The comparisons we can draw between the book and gender roles, hierarchy, etc are none less.

The Way Things Go- Beabadobee

This song describes Luke and Offred’s marriage during the start of Gilead in many ways. For example, names are very important in The Handmaid’s Tale. Throughout the story, we learn about many small things from Offred’s life before Gilead, that she took for granted, such as her name. The readers do not know her real name yet, but Luke’s name is known. Something that can be viewed as insignificant, like your name, is being taken away from women in this society, but lots of men have not lost this privilege. This song also relates a lot to Offred’s flashbacks, like the lyric “There’s too much on my mind.” The narrator’s mind wanders a lot, and this is how she tells her story, on her own terms. The lyric “There’s so much left to say” relates to her feelings towards Luke, because they didn’t choose to end their relationship, yet it ended so abruptly, and she didn’t get to say everything that she wanted to say to him. She sometimes catches herself referring to him in past tense, and corrects herself, because to her, he is still real, and such a large part of her life. For example, after her moment with Nick, she thinks to herself that Luke would understand, because he is still constantly on her mind. Throughout this song, the artist Beabadoobee sings about toxic relationships she has had, where when she was in them, she thought this was the norm. During her flashback to when Luke tries to reassure her when she was fired and lost her economic freedom, he says to her on page 179, “You know I’ll always take care of you.” This moment connects to the lyric and common phrase “I guess that’s just the way things go,” because he implies this, because he can’t change it, but he can say what he thinks he is supposed to say to comfort her.

Lyric Video: https://www.youtube.com/watch?v=JAzq1kS7Euc

Space Song- Beach House

When Luke and Offred are trying to escape with their daughter, they are driving toward their new life. The slow, calming nature of this song fits this moment perfectly, because it is what the two of them need. The anxiety is so high because they don’t know what’s going to happen, but they have left their entire life behind. This song focuses on the connection that two people feel. The lyrics “You held on tight// I’m on your side,” are perfect for this moment, because they know at this moment they only have each other, because they can’t trust others. Even with all of this uncertainty, they both choose to escape together. They don’t truly understand Gilead yet, because it is so new, which reminded me of the lyric “What makes this fragile world go round.” Throughout this entire story, there is so much confusion, and that forces the reader to ask themselves, why is Gilead like this? And what are the similarities with our current society?

Lyric Video: https://www.youtube.com/watch?v=wDv_oMJXZow

Spring- Antonio Vivaldi

While this classical song doesn’t have any lyrics, the title, and the high paced mood connects to the motif of gardens, which I think represents motherhood. Tending and maintaining the garden consistently can be interpreted as watching out for your child and always being there for them. However, this choice has been taken away from Offred. During her flashback on page 12 of her own garden after she first witnessed Serena Joy’s, she describes “Time could pass more swiftly that way.”: Is she really talking about the garden? Having a garden used to be so normal, she can’t have anything that’s hers. Her garden used to be hers, just like her daughter, but her daughter doesn’t even remember her anymore. This is shown when Serena Joy secretly gave her a picture, she says, “It (time) has washed over me, washed me away, as if I’m nothing more than a woman of sand…Still, I can’t bear it, to have been erased like that.” (page 228) Finally, the fact that this song is not performed by one instrument, but by an orchestra, relates to her strong relationship with her daughter, and how before it was not one-sided.

Link to Audio: https://www.youtube.com/watch?v=e3nSvIiBNFo

Think Fast: Dominic Fike (ft. Weezer)

Throughout the novel, there is a recurring theme of indoctrination, and you don’t know if it’s always Offred talking or it’s Gilead’s ideals that have creeped into her own personal thoughts. In this song, Dominic Fike is trying to find meaning in a confusing world. The lyrics, “She talks and nothing makes sense to me.”//“If it’s not a puzzle, it must be nonsense,” are also related to indoctrination. When she is learning how to become a handmaid and live in this new society, she is extremely overwhelmed, and some of the things the aunts were saying were mixing around in her head, which is shown when sometimes a thought is prefaced by “Aunt Lydia says,” letting us know that it might not really be Offred talking, and all of those opinions are the same category in her head. This indoctrination shows us performative religion, such as doing everything for power rather than faith. An example of this would be the Soul Scrolls, which really just show your wealth and status, not your commitment to the religion. The part of the song where Dominic Fike sings, “Had clues to dead ends, I’d lose them lost faith,” I think is a good representation of how Offred feels, because we do see her praying prior to Gilead on page 225, “It’s going to be all right, I said, prayed in my head.” However, now because she doesn’t pray on her own accord, she makes small changes to feel rebellious, like when she was praying The Lord’s Prayer.

Lyric Video: https://www.youtube.com/watch?v=upadCWGCbF0

Happy Now- Kali Uchis This song is Kali Uchis reflecting on a past relationship of hers, which is exactly what Offred is doing when she tells us her and Luke’s story. Many times, Offred admits that she is doing something wrong, but she is always trying to justify it. Her relationship with Luke and her relationship with The Commander are similar in many ways. She is “the other woman” in both. Going to hotels, only together behind closed doors. On page 193 she says, “You have to create an it, where none was before.” That section is her talking about how you have to make yourself believe something is real so that it becomes real, in her case justifying her poor actions. In the song “Happy Now”, the lyrics “It was never their business anyway. Let’s, you and me, start over today, be happy,” for me, describing Offred’s perspective on her relationship with Luke prior to marriage. When he was cheating on his wife with her, because Luke’s wife didn’t matter to her, only the relationship she had with him. Finally, “I’ve gotta free my mind. Don’t wanna think about the pain or the heartaches. Just wanna remember all the good things,” can show how Offred only wants to remember Luke as this amazing man, he was her husband, doesn’t know what happened to him, creating an image of him in her head because she only wants to think positively. She constantly gives us reasons to make us believe that they are good people, because she doesn’t believe it herself.

Lyric Video: https://www.youtube.com/watch?v=eixxLxVrh_o

One thing that resonates with me a lot from The Handmaid’s Tale is the societal treatment of women. It resembles my mom’s culture a lot and reminds me of my family’s experience that has become normalized to them. My mom is from a republic of Russia that’s called Chechnya, which is entirely muslim. The way the entire culture works is that men work, while women: stay home, have a bunch of children, and cook and clean all day. Chechen women’s value is based on being a servant; an object. It’s also very common for Chechens to have arranged marriages, and more crudely, men can ‘claim’ a woman on the street just by touching them.

Chapter 34 really hit home with me because of the Prayvaganza’s similarities to my culture’s idea of marriage. Chechen culture isn’t quite as extreme as a mass marriage ceremony but there are still arranged marriages for practically children. Offred refers to Gilead’s philosophy on marrying off 14 year olds “Start them soon is the policy, there’s not a moment to be lost” (pg. 219). Most of my relatives were married by age 16-19, including my mom in her first marriage. ‘There is not a moment to be lost’ because they want them to be the most physically viable for pregnancy; their worth is based on how useful they are to their husbands. Just like how Offred describes the Prayvaganza’s matches, it’s also extremely common for young girls to get married off to grown men in Chechnya. It’s the same in both Gilead and Chechnya. This chapter especially resonated with me because I witnessed how this affected my cousin, whose father married her off when she was 18 to a man she’d never met before. This was a really hard time for her and everyone else in my family. Even though it was her life, my cousin had no say in the matter, and no one else in my family could do anything because that’s how the patriarchy in Chechnya works. “they’ll always have been silent” (219) Those girls getting married in the Prayvaganza knew they were powerless in that situation, resulting in their silence, similarly to my cousin. Women in both societies often don’t get a choice in their future.

My cousin thankfully was able to get divorced after a few months of being trapped in a loveless marriage, which angered her father. My cousin’s punishment for her decision to get divorced was her father never speaking to her again, which was 6 years ago now. Which reminds me of page 220 “Love, said Aunt Lydia with distaste. Don’t let me catch you at it. No mooning and June-ing around here, girls. Wagging her finger at us. Love is not the point.” I guess that was my uncle’s mentality - ‘love’ just doesn’t matter. But just like in Gilead where people are trapped in loveless marriages, the same thing happens to many women in my culture.

Another thing about Gilead’s objectification of women that reminds me of Chechen culture is their requirements about women’s clothing. Just like the different roles for women in Gilead, all Chechen women are forced to not only cover up, but they can only wear skirts/dresses. Only in the past few years when I have gone to visit my mom’s side of the family for the summer I’ve been subjected to this rule. It feels really dehumanizing, having to dress and act a certain way just to not get judged by my own family. Six weeks out of the year I live how a Chechen woman does, which means most of the days I’m taking care of children, constantly cleaning, and rarely get a chance to just sit down. Frankly, I love my family, but it’s incredibly exhausting. And having to wear a skirt through a full day of non-stop physical labor I really relate to how Offred feels having to wear a warm dress in hot weather. Honestly it has ruined skirts/dresses for me. Often I feel like I physically cannot dress similarly to how I would during the summer, I just get a reminder of being treated like a servant. Chechens are taught that women who wear pants draw more unwanted attention to their body from men. Essentially, taught the same as how Offred and other girls in the Red Center are taught about dressing modestly. “The spectacles women used to make of themselves. Oiling themselves like roast meat on a spit, and bare backs and shoulders, on the street, in public, and legs, not even stockings on them, no wonder those things used to happen.”(pg. 55) When one of my cousins first explained to me how pants were forbidden because they drew attention from men, I heard all the same things. Two cultures that believe in victim blaming. Just like the Red Center brainwashing Handmaids, it really feels like my relatives are completely brainwashed.

To many Americans, The Handmaid’s Tale is just a dystopian novel. However, in my experience with my own culture, there are women all around the world who can relate to a lot of how Gilead treats women.

I get intrigued when the author speaks about intimacy and sex. I think there is a lot to say about how our society deals with sex and intimacy versus the Republic of Gilead.

The Republic of Gilead tends to denounce sex and intimacy. “That was a part of it, the sex was too easy. Anyone could just buy it. There was nothing to work for. Nothing to fight for” [page 210]. I somewhat agree with this. I wonder if sex is meant to be sacred. I think this idea could be influenced by religious belief that once ruled the US. Personally, I think sex is whatever you make of it. I don’t like to say it is easy to have sex, I think sex is more accessible because more people are willing to talk about it now. It is less taboo now due to our generation. The age of sex seems to go lower and lower because of media influence. It used to be upwards of 20 and now it can be ranging from 15+. I don’t have a problem with it though, it is just interesting to notice what caused the age of interest. As long as it is consensual and legal, I am indifferent about age or age gap during sex.

Throughout the whole book, there is a bad connotation about sex. There are no feelings involved but in a bad way. People agree with friends with benefits and that is a destructive relationship people choose to put themselves in. In Gilead, it is not an agreement. There is no choice. There are no feelings attached to your decision on sex. “But this is wrong, nobody dies from lack of sex. It’s lack of love we die from. There’s nobody here I can love, all the people I could love are dead or elsewhere”[page103]. Love is a connection. I think love can be interpreted in different ways since there are many ways to show someone you love them. I think connection is something humans crave so I can understand why Offred is going insane. Especially since she was torn from her relationship with Luke. She definitely longs for feeling. The feeling to be needed and being something to someone. I would probably go insane as well. As an introvert, I need a lot of validation from myself and people I really care about. The reassurance aspect of a relationship knowing someone is present in your life gives your stability. Offred does not have stability in her life. I believe that is why she thinks about Moria and Luke often. She is holding on to the stability she used to have.

I was gasping while reading this section. In. Literal. Shock. It was so casual before and then boom. “Women kneeling, sucking penises or guns, women tied up or chained or with dog collars around their necks, women hanging from trees, or upside-down, naked, with their legs held apart, women being raped, beaten up, killed.”[page 118]. How is this even allowed?! I think porn is unrealistic and especially the example Aunt Lydia gives. The extremities of certain topics instill fear. It is true but unrealistic on a general scale. I do understand how porn creates unrealistic standards for couples. Porn makes sex more difficult with fake scenes and noises. It is overly dramatized and if you don’t fit a certain way of doing sex, then you’re bad at sex. I also think hookup culture could be one of the reasons why Gilead exists. People frown upon sex workers and easy sex. The way how sex can be for many things such as imitancy, fun, and reproduction. Gilead only views sex for reproduction purposes. There should be no pleasure in sex as it is a human duty to reproduce. I do not agree with this idea. Sex should feel comfortable and pleasurable. Breeding is a human duty but it should be consensual for both parties. The Republic of Gilead wants to strip the connection built in sex and have breeding done in its most natural form. It is not enjoyable for all parties as shown during the Ceremony. It feels like a simulation of life. It may be simple to follow but it is unethical in ways. It reminds me of forceful dog breeders. People should be able to build connections and be intimate with each other in ways they may not do with others. Sex is sacred in a sense that individuals share it by their own decision. Choice is what they need. Sex is a choice. Intimate sex is what humans deserve.

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.

Authoritarianism and Totalitarianism:

One of the central themes of “The Handmaid’s Tale” is the omnipresent authoritarianism within the Republic of Gilead, a theocratic regime that governs every aspect of the characters’ lives. In Gilead, individual freedoms are sacrificed at the altar of state control, and citizens are subjected to surveillance, propaganda, and strict social hierarchies. The following quote from the book illustrates the extent of state control:

“Nolite te bastardes carborundorum.”

This Latin phrase, meaning “Don’t let the bastards grind you down,” becomes a powerful mantra for the protagonist, Offred. It encapsulates the spirit of resistance against the oppressive regime’s attempts to break the will of its citizens.

In the 20th century, during the time when the novel was written, the world was experiencing the Cold War, a period marked by the ideological struggle between democracy and authoritarianism. The Soviet Union, with its centralized control, suppression of dissent, and state-controlled media, epitomized the authoritarian model. Similarly, the Gileadean regime in Atwood’s novel mirrors the totalitarian tendencies of such governments. This parallel serves as a reminder of the dangers of unchecked power, even in societies built on the promise of liberty and democracy.

In the contemporary political context, numerous nations grapple with the consequences of authoritarianism. Leaders in various countries have employed tactics such as censorship, disinformation, and restrictions on individual liberties to consolidate power and suppress opposition.

Gender Oppression:

Another central theme in the novel is gender oppression. In Gilead, women are systematically stripped of their rights, autonomy, and agency. They are segregated into distinct roles, and their worth is primarily determined by their reproductive capabilities. The following quote from the book underscores the dehumanizing nature of this regime:

“Better never means better for everyone… It always means worse, for some.”

This quote, delivered by the protagonist Offred, captures the essence of how the oppressive regime exploits and discriminates against women, demonstrating how the promise of a “better” society is often a guise for further subjugation.

In the modern political landscape, gender discrimination and violence against women persist in many societies. The #MeToo movement and global efforts to combat gender-based violence highlight ongoing challenges in achieving gender equality. “The Handmaid’s Tale” is a stark reminder of the importance of continuing to advocate for women’s rights and challenging oppressive gender norms that still endure.

Religious Extremism:

Religious extremism is another significant theme in the novel. Gilead is a theocracy where religious ideology is used to justify oppressive policies and totalitarian control of the state. The following quote exemplifies the role of religious rhetoric in the regime:

“A rat in a maze is free to go anywhere, as long as it stays inside the maze.”

This quote, delivered in the context of religious indoctrination, symbolizes how the regime constrains its citizens within the confines of its ideology, restricting freedom in the name of faith.

In the real world, extremist groups and political leaders have employed religious rhetoric to justify acts of violence, discrimination, and the curtailment of individual freedoms. In the early 21st century, the rise of religious extremism, particularly in the Middle East, brought religious ideology to the forefront of global politics. “The Handmaid’s Tale” stands as a cautionary tale, underscoring the dangers of religious extremism when it becomes intertwined with political power, leading to repression and authoritarianism.

Erosion of Privacy and Surveillance:

Beyond these themes, Atwood’s novel delves into the erosion of individual freedoms and privacy under a surveillance state. In Gilead, citizens are subjected to constant monitoring, both by the state and their fellow citizens. While the degree of surveillance depicted in the book is extreme, it draws attention to the contemporary debates surrounding government surveillance, data privacy, and the balance between security and individual liberty.

In recent years, discussions about mass surveillance, data breaches, and the collection of personal information by both governments and private corporations have taken center stage. The novel forces readers to confront the potential consequences of sacrificing personal freedoms in the name of security, a debate that continues to shape contemporary politics.

Contemporary Political Parallels:

“The Handmaid’s Tale” remains remarkably relevant because of the rise of extremist ideologies and the erosion of democratic norms in contemporary politics. The novel serves as a stark reminder that the gradual erosion of democratic institutions and the rise of authoritarianism can occur in any society, even those with long-established democratic traditions. This is evident in the political developments in various countries where leaders have sought to consolidate power, undermine democratic checks and balances, and manipulate public opinion.

One of the most pressing concerns is the spread of disinformation and the undermining of public trust in institutions and the media. The novel’s portrayal of state-controlled propaganda and censorship serves as a cautionary tale in the age of fake news and information warfare. In this context, “The Handmaid’s Tale” encourages us to remain vigilant, discerning consumers of information, and engaged citizens committed to the defense of our rights and the preservation of democratic principles.

Conclusion:

In conclusion, “The Handmaid’s Tale” is more than a work of fiction; it is a reflection of larger political realities. Through its exploration of authoritarianism, gender oppression, religious extremism, and erosion of privacy, it serves as a cautionary tale and a call to action. As we confront contemporary political challenges and witness the erosion of democratic norms and the rise of extremist ideologies, “The Handmaid’s Tale” reminds us that vigilance, advocacy, and a commitment to democratic principles are essential in safeguarding our freedoms and building a just and equitable society. Atwood’s narrative, though dystopian, serves as a guidepost for our path forward, prompting us to confront the dangers of complacency and to work tirelessly for a more inclusive, democratic, and equitable world.

Authoritarianism and Totalitarianism:

One of the central themes in “The Handmaid’s Tale” is the omnipresent authoritarianism of the Republic of Gilead, a theocratic regime that governs every facet of the characters’ lives. In Gilead, individual freedoms are sacrificed at the altar of state control, and citizens are subjected to surveillance, propaganda, and strict social hierarchies. While Gilead is an extreme fictional example, it is not far removed from the authoritarian regimes that have existed throughout history and still persist in various parts of the world.

In the 20th century, for example, the Cold War era was marked by the ideological struggle between democracy and authoritarianism. The Soviet Union, with its centralized control, suppression of dissent, and state-controlled media, epitomized the authoritarian model. Similarly, the Gileadean regime in Atwood’s novel mirrors the totalitarian tendencies of such governments. This parallel serves as a reminder of the dangers of unchecked power, even in societies that are built on the promise of liberty and democracy.

In the contemporary political context, numerous nations grapple with the consequences of authoritarianism. Leaders in various countries have employed tactics such as censorship, disinformation, and restrictions on individual liberties to consolidate power and suppress opposition. “The Handmaid’s Tale” serves as a stark warning that authoritarianism can emerge even in democratic societies when citizens become complacent or indifferent to the erosion of their rights.

Gender Oppression:

A prominent theme in the novel is gender oppression. In Gilead, women are systematically stripped of their rights, autonomy, and agency. They are segregated into distinct roles, and their worth is primarily determined by their reproductive capabilities. Although the circumstances in “The Handmaid’s Tale” are extreme, the broader context of gender discrimination is an unfortunate reality in many parts of the world.

During the 1980s when the novel was written, women’s rights movements were gaining momentum, advocating for gender equality in various domains, including the workplace and reproductive rights. Atwood’s narrative served as a cautionary tale, reminding readers of the dire consequences of subjugating women and denying them control over their own bodies.

In the modern political landscape, gender discrimination and violence against women persist in many societies. The #MeToo movement and global efforts to combat gender-based violence highlight ongoing challenges in achieving gender equality. “The Handmaid’s Tale” is a stark reminder of the importance of continuing to advocate for women’s rights and challenging oppressive gender norms that still endure.

Religious Extremism:

Religious extremism is another central theme of the novel. Gilead is a theocracy where religious ideology is used to justify the oppressive policies and totalitarian control of the state. This concept is not confined to the realm of fiction; it finds resonance in historical and contemporary contexts where religious fervor is manipulated to justify oppressive agendas.

For instance, extremist groups and political leaders have employed religious rhetoric to justify acts of violence, discrimination, and the curtailment of individual freedoms. In the early 21st century, the rise of religious extremism, particularly in the Middle East, brought religious ideology to the forefront of global politics. “The Handmaid’s Tale” stands as a cautionary tale, underscoring the dangers of religious extremism when it becomes intertwined with political power, leading to repression and authoritarianism.

Erosion of Privacy and Surveillance:

Beyond these themes, Atwood’s novel delves into the erosion of individual freedoms and privacy under a surveillance state. In Gilead, citizens are subjected to constant monitoring, both by the state and their fellow citizens. While the degree of surveillance depicted in the book is extreme, it draws attention to the contemporary debates surrounding government surveillance, data privacy, and the balance between security and individual liberty.

In recent years, discussions about mass surveillance, data breaches, and the collection of personal information by both governments and private corporations have taken center stage. The novel forces readers to confront the potential consequences of sacrificing personal freedoms in the name of security, a debate that continues to shape contemporary politics.

Contemporary Political Parallels:

“The Handmaid’s Tale” remains remarkably relevant because of the rise of extremist ideologies and the erosion of democratic norms in contemporary politics. The novel serves as a stark reminder that the gradual erosion of democratic institutions and the rise of authoritarianism can occur in any society, even those with long-established democratic traditions. This is evident in the political developments in various countries where leaders have sought to consolidate power, undermine democratic checks and balances, and manipulate public opinion.

One of the most pressing concerns is the spread of disinformation and the undermining of public trust in institutions and the media. The novel’s portrayal of state-controlled propaganda and censorship serves as a cautionary tale in the age of fake news and information warfare. In this context, “The Handmaid’s Tale” encourages us to remain vigilant, discerning consumers of information, and engaged citizens committed to the defense of our rights and the preservation of democratic principles.

Conclusion:

In conclusion, “The Handmaid’s Tale” is more than a work of fiction; it is a reflection of larger political realities. Through its exploration of authoritarianism, gender oppression, religious extremism, and erosion of privacy, it serves as a cautionary tale and a call to action. As we confront contemporary political challenges and witness the erosion of democratic norms and the rise of extremist ideologies, “The Handmaid’s Tale” reminds us that vigilance, advocacy, and a commitment to democratic principles are essential in safeguarding our freedoms and building a just and equitable society. Atwood’s narrative, though dystopian, serves as a guidepost for our path forward, prompting us to confront the dangers of complacency and to work tirelessly for a more inclusive, democratic, and equitable world.

The Handmaid’s Tale is a story about a human’s experience in life. Margaret Atwood wrote this story through the point of view of Offred, a woman living in a dystopian society. A dystopian society is not something that any reader would have lived through, because it’s dystopian, it’s futuristic, it’s what could happen, right? Well, Atwood takes that definition and flips it, saying that she can only include things that happened in our own world history. So when Offred encounters something horrifying or crazy in her day-to-day life, it makes the encounter even more scary because most likely the reader knows people it has happened to, and how it very well could happen to them. This kind of writing keeps readers on their toes, keeps them curious, because at times, the reader can find themselves reading something of a memory.

Writing that appeals to the senses can also keep a reader interested. Using descriptive words that go above and beyond to describe even the littlest things, like a dresser or a flower entices the reader. Atwood’s use of this writing style is extremely effective at drawing the reader in and pretty much forcing them into situations that they aren’t really in. This can be an enjoyable experience, but it can also be uncomfortable, even off putting. Sometimes it almost makes the reader want to put the book down and take a cold shower, maybe take a walk in the city, enjoy the life they live instead of the one they’re being sucked into. It can also be confusing, the words at times are nothing normal and are structured in run on sentences that lead on and on into a vague answer.

The section that is most descriptive and resonating is the laughing scene. Here’s the context: Offred has just been to her first meeting with the Commander, and she’s reminiscing about what went on. She’s confused, flustered, relieved, and so much more. She feels like there could be an ulterior motive for the Commander to invite her into his room. She thinks, “Is this really just to play scrabble and give a quick kiss?” Nevertheless, she’s back in her room, safe and sound, with no harm done. She starts to remember a documentary that she saw as a little girl on the TV. It was about a woman who was with this Natzi and fourty years later is being interviewed about it. Her appearance is notable in its description: “She was carefully made up, heavy in the mascara on her eyelashes, rouge on the bones of her cheeks, over which the skin was stretched like a rubber glove pulled tight.” She goes on to explain how this woman defends her Natzi husband to this day, but days after the interview commits suicide. Offred then says the most she remembers of this is the makeup.

Perhaps this memory is what triggers the following scene, which is nothing like the one before, and isn’t like any other scene in the book so far. “Then I hear something, inside my body. I’ve broken, something has cracked, that must be it. Noise is coming up, coming out of the broken place, in my face.” Hold on. This sounds very similar to one of my experiences. Let’s continue: “Without warning: I wasn’t thinking about here or there or anything. If I let the noise get out into the air it will be laughter, too loud, too much of it, someone is bound to hear, and then there will be hurrying footsteps and commands and who knows? Judgment.” These few sentences described down to a tee one of my experiences from my past. When I was smaller I used to get panic attacks, and the first time I had one, it pretty much went down just like this. This scene was so descriptive that it brought me back to that moment, I remembered it clearly as day. It was freaky. It was uncomfortable. I remember the fear of other people finding out about it, the judgment. The judgment that Offred faces is far more dangerous than mine would’ve been, but to a ten year old’s brain, it isn’t much different. The only thing is that I would replace the word laughter with crying. In that lies an irony that really brings to life the mental anguish that Offred is put through. Atwood wraps up the chapter as well as the scene with, “All I can hear now is the sound of my own heart, opening and closing, opening and closing, opening–”. It ends with just a blank space, no more punctuation, just the rest of the page blank. I imagine Offred lying there, listening to her heartbeat, hoping it doesn’t rise again, and ultimately succumbing to sleep, just as I have done many times before.

I included the paragraph about the Natzi woman not just because it has good descriptions (although it does), but also because I believe that this is directly correlated to this freak-out. See, when I had a freak out, it was usually due to some sort of trigger, like a memory or a setting. But like Offred’s memory of the documentary, these triggers didn’t seem connected at first glance. However If you look deeper you can find connections that make sense. I think her freak out is due to guilt, being with the Commander even though there are terrible things going on, and women that can’t do half of what she does. See the connection between her and the Natzi women? They’re both playing the same role as the mistress who feigns ignorance and keeps living a more enjoyable life.