The Handmaid's Tale Quizlet for Test

Chapters 1-2: Consider the novel's epigrams, the apparent role of the Handmaids, and the terms for prison guards and domestic servants. What general conclusion about the society of this novel do these clues point to?

The society seems to be heavily theocratic, with social roles and practices drawn from the Bible, especially the Old Testament.

Chapter 15-17: The encounter between Offred and Nick in the sitting room includes common conventions from romances. What is the effect of these clichés, and how does Atwood subvert them?

The spontaneous, passionate, forbidden kiss illustrates how both Offred and Nick are starved for physical intimacy. Their rushed kiss emphasizes how rare it is for two people of opposite sex to have time alone together. Their clichéd interaction builds up the potential romance between Offred and Nick, which is then anticlimactically subverted when Nick reveals that he was "coming to find" the narrator not be with her but to deliver a message from the Commander.

(CHAPTER NINE AND TEN) 1: Chapter 9 immediately follows the narrator's encounter with the Commander outside "her" bedroom. How has that encounter altered her thinking?

For the first time in the novel, the narrator admits that this room is hers. Earlier, she refused to call it "her room." Although chronologically, the narrator's examination of the room came before this encounter, it is after meeting the Commander that she decides to tell the reader about her examination and what she found. It is after she finds the Commander lurking outside of her room that she decides to admit to the reader that she does not feel completely alone, that she had discovered a companion, of sorts.

Chapters 1-2: What is the role of a "Martha" in the society of this novel?

Marthas are apparently domestic servants—cooks, maids, etc.

Chapter 38-39: What narrative and thematic purpose does Atwood achieve by drawing obvious parallels between the transportation of women out of Gilead and the Underground Railroad?

Naming the Quaker movement the Underground Femaleroad makes it virtually impossible to miss the comparison of women in Gilead to the African American slaves of the Civil-War era United States. The parallel Atwood draws between Gilead and that time in United States history could suggest that another great upheaval like the Civil War is developing, and this upheaval might result in a period of increasing acknowledgment of individual rights. Naming the movement as she does may be an optimistic gesture.

Chapters 3-4: What might the narrator's focus on Nick and his behavior foreshadow about their story arcs?

Nick's subtle flirtation and the narrator's attention to it suggest that they might have a romantic relationship. Nick's willingness to openly behave inappropriately may also indicate a willingness to break rules, possibly even a sense of resistance. It is too early to predict whether this might lead to trouble for him and/or the narrator.

Chapters 7-8: Why is the night special and significant to the narrator?

Night is the only time she has to herself, so she does not feel the need to police her own thoughts at night. Though she remains in the bedroom, she is free to dream, whisper, and go where she wants in her imaginings.

Chapters 40-41: What emotion is Offred revealing when she claims, "By telling you...I'm at least believing in you..."? To whom is she speaking?

Offred is revealing a degree of hope. The very act of creating this story—first, as an internal monologue and then later, apparently, in some written format—she is acknowledging a future in which someone, she does not know who, will be able to read what she has written. It may be a tiny spark of hope, but it is hope, nonetheless.

Chapter 28-29: In what ways is Nick a foil for Luke? What is ironic about the narrator's saying she would "like to think better of" Nick?

Offred knew Luke intimately but eventually came to distrust his response to the revolution. She does not know Nick at all and distrusts him at first, but as her physical attraction to him grows, so does her trust in him. Finally, Offred and Luke communicated on several levels. She recounts conversations they had during their affair and marriage. They knew each other both physically and emotionally. At this point in the novel, she and Nick do not know each other on any level. She is physically attracted to him (and assumes that he is to her), but they have never spoken and have interacted in only the vaguest and most ambiguous means. The irony in her final assessment of Nick is that, despite the level of her and Luke's intimacy and commitment, she was able to envision his betrayal of their relationship by believing he enjoyed the new status bestowed on him by the revolution. On the other hand, even though she does not know Nick at all, when she considers that he might be planning to betray her, she decides to give him the benefit of the doubt.

Chapter 28-29: What point about her contemporaneous society is Atwood suggesting with Moira's immediate response to the revolution?

Offred says that Moira acted "gleeful, as if this was what she'd been expecting for some time and now she'd been proven right." Having written this novel in the early 1980s, Atwood is possibly telling her readers that there are already warning signs in the politics and culture of the nation that the rights women fought for and won are being threatened by a small but increasingly powerful segment of the population.

Chapters 30-32: What is the password used to recognize others in the network?

Ofglen tells Offred the password is "Mayday."

Chapter 38-39: In addition to the unquestionable violation of the republic's moral laws, how else is the essentially legal prostitution of this club hypocritical?

One of the basic founding principles of the Republic of Gilead is the need for procreation. The women who work in the brothels, however, are all sterilized. The society wants children, but not the illegitimate children of supposedly upstanding and law-abiding officers of the republic.

Chapter 42-43: In Chapter 33, Atwood coined the word "Prayvaganza." In Chapter 43, she presents another new word, Particicution. Of what two words is Particicution a portmanteau? To what effect does the society's creation and use of such a word contribute?

Particicution is a blend of the words participate and execution. Based on Offred's description, the Particicution is another instance of the leaders of Gilead using the power of peer pressure and mob mentality to control people.

Chapter 38-39: Why would Quakers in particular be willing to help Moira?

Quakers are members of a Christian denomination that emphasizes pacifism, equality, and integrity, so they would disapprove of the Republic of Gilead, which came to power violently, wages wars, segregates society, and deprives people of civil rights. The Quakers can peacefully oppose Gilead by helping Moira and others escape.

Who does Offred see in the Unwomen film the Aunts show the Handmaids? What is the person doing? How does Offred react to seeing her?

She sees her mother participating in a rally for women's rights. She is struck by her mother's youth, beauty, and earnestness.

What is Janine's reward for a successful pregnancy and delivery?

She will never be declared an Unwoman and sent to the Colonies

Chapters 7-8: 4. The protagonist remembers screaming, "What have you done with her?" and being shown a photograph of a girl holding an unknown woman's hand. What can the reader infer from this memory?

The girl is the narrator's daughter and has been removed from the protagonist's care because she is an "unfit" parent, according to the Republic of Gilead. Her daughter has been sent to live with another family, one that is loyal to the regime.

Chapter 38-39: Moira escaped before Aunts and the Center were "common knowledge" and "before the sectarian roundups began." What does the apparent sequence of events that ultimately resulted in the society of the novel parallel?

The gradual, step-by-step process, part secret, part ignored and unnoticed, parallels the lengthy process that eventually resulted in the Nazi rise to power and the imposition of its genocidal policies.

Chapters 5-6: What does the Japanese tourists' interpreter's "winged-eye tie pin" indicate?

The interpreter works for the Republic of Gilead and ensures that the tourists see only the sites that cast the government in a positive light. Residents of Gilead also know that they need to appear happy for the tourists, lest the interpreter report them.

Section 5-6: What does the Japanese tourists' interpreter's "winged-eye tie pin" indicate?

The interpreter works for the Republic of Gilead and ensures that the tourists see only the sites that cast the government in a positive light. Residents of Gilead also know that they need to appear happy for the tourists, lest the interpreter report them.

Chapter 30-32: What is ironic about the Commander's claim that one of the complaints of men prior to the revolution was that they could not "feel"?

The irony lies in the fact that the provisions made in constructing the new society have not only not increased intimacy between men and women but damaged it even further. As the Commander persists in trying to get her to talk about herself and her opinions, Offred concludes, "What he wants is intimacy...." Clearly, the stated goals of the founders of Gilead have failed.

Chapters 40-41: Why does Offred regard having sex with Nick as a betrayal? How is this encounter different from the nights of the Ceremony?

The issue is consent. Her encounters with the Commander do not count as betrayal because Offred is not consenting to them. She is detached and coerced. However, she desires the encounter with Nick, despite being required by Serena Joy to participate.

Chapters 5-6: What clues does Atwood provide in these chapters about the protagonist's former life? What conclusions do these clues point to?

The narrator recalls looking at houses with a man named Luke, who is presumably her husband. In another flashback, Luke worries about a girl suffocating on a plastic bag, which suggests that he and the protagonist had a daughter.

Chapters 7-8: 8.How does Atwood's technique of not using quotation marks enhance the possible meaning of the narrator's remembered conversation with Luke? It's French, he said. From m'aidez. Help me. [sic]

The reader cannot tell who is saying "Help me," so the line could be interpreted as Luke translating the French phrase, or it could be read as the narrator's internal cry for help.

Chapters 26-27 1. What is Atwood demonstrating with Offred's observation that something about the Ceremony has changed since the last time?

1. Even the small amount of personal contact and intimacy Offred and the Commander have achieved is enough to change the Ceremony from a purely physical act into one colored with emotion and understanding.

Chapter 26-27 2. How does Offred and the Commander's first meeting after the Ceremony show them to be on "different terms"? Why is this significant?

2. In Offred and the Commander's first encounter after the Ceremony of Chapter 26, the narrator emerges as a full partner in a relationship—no longer the shy and submissive Handmaid. She chastises him. "Don't...try to touch me like that...You could get me transferred [not 'I could get transferred']...To the Colonies. You know that." Her reprimand evokes from him an almost plaintive admission that he finds the Ceremony "impersonal," but even then she responds—sarcastically and obviously without fear of reprisal from him: "How long did it take you to find that out?" This change in relative status is important because it continues Offred's character advancement that began in Chapter 24. It further establishes the Commander as a human character, worthy at least to some extent of the reader's sympathy. It also opens up many possibilities for the plot.

Chapter 26-27 3. Why is the name of the fish market ironic?

3. The name of the store, "Loaves and Fishes," alludes to an episode which appears in all four of the gospels. A large crowd has gathered to hear Jesus teach. As the time for a meal arrives, Jesus instructs his disciples to feed the crowd. However, all they have are a few loaves of bread and a few fishes. As they distribute the meager food to the crowd, a miracle occurs, and the entire crowd—5,000 people—is fed to satisfaction, and there is food leftover. The irony is that the store Loaves and Fishes is rarely open because there is not enough fish. Ocean fishing has completely ceased. Any fish that might be available are farmed and of poor quality. Offred even speculates that most of the species of fish she remembers eating as a child are now extinct.

Chapter 26-27 4. Structurally, what do the key events of Chapter 27 contribute to the plot?

4. Chapter 27 provides important rising action. After the narrator's apparent realization in Chapter 24 and the intensification of her "relationship" with the Commander, Chapter 27 is when Offred discovers, in Ofglen, a confidant and ally. The conversation with Ofglen also verifies the narrator's (and the reader's) suspicions that there is a resistance.

Chapter 26-27 5. Describe the irony inherent in the Soul Scrolls franchise. In what way is the franchise emblematic of the Republic of Gilead's use of religion?

5. The irony is that the machines are soulless; they are incapable of praying to any deity. All of the "praying" is done purely for show, which is in direct contradiction to true faith-based praying. Soul Scrolls also charges for each prayer, again contradicting biblical teachings, which value faith over monetary wealth. Gilead, like Soul Scrolls, perverts religion and the Bible. The government values the appearance of piety, but it uses the Bible as a tool for controlling society.

Chapter 26-27 6. What point does Atwood establish with the final sentence of Chapter 27?

6. The chapter ends with Offred reflecting that the only emotion she feels at seeing a man arrested in the street is relief that it wasn't her. Atwood is illustrating one of the most effective methods of control employed by totalitarian and extremist regimes. Offred's expressed consideration, that Ofglen might have been a spy herself, illustrates the power of fear and isolation in preventing revolution. The fear and suspicion raised by the regime's constant surveillance and threat of violent punishment preclude not only true human intimacy but even basic sympathy for the suffering of another.

Chapter 26-27 7. What is ironic about the narrator's feeling hope rising in her like "[b]lood in a wound"? In what ways is the image potentially prophetic?

7. Rising hope should be a positive feeling, while the image of a bloody wound is clearly negative. Hope should be healing, not injuring. The image is prophetic in that the hope comes from the possibility of there being a resistance and the narrator's joining it. A revolution would most likely be violent and bloody.

Chapter 44-46 : Explain what is happening to the narrator in the first part of Chapter 45? What does she mean when she calls herself "abject"?

After hearing that Ofglen is dead and realizing that she [the narrator] is safe, Offred is now succumbing to her indoctrination. She is fervently agreeing to become exactly what the Republic of Gilead wanted her to be all along. By calling herself "abject," however, she is admitting that she is not yielding her mind or her heart. She does not accept the values by which she is being forced to live, but she will stop fighting.

Chapter 28-29: How completely should the reader accept Offred's account of how Luke behaved immediately after the Gilead takeover? Why?

Atwood has made it clear from the beginning—and she will continue to do so through the end of the novel—that this tale is being narrated by an unreliable narrator. We are not led to suspect that she is consciously lying, but clearly, the account is hers, her memories based on her perceptions. There have been times when she has admitted that she does not remember everything with 100% accuracy, and she has told us that everything in this story is a "reconstruction." Therefore, while we acknowledge her impression of Luke's behavior (or more precisely her memory of her impression), we must remember that this entire account is subjective and factually flawed.

Historical Notes: Professor Pieixoto mentions that, before Gilead, Rumania banned birth control and imposed "compulsory pregnancy tests." Why did Atwood include this historical detail?

Atwood included this detail to draw a real world parallel to the book and make the reader reflect.

Chapters 3-4: What might Atwood be suggesting in the discrepancy between the narrator's claim that she looks at Nick because she wants his cigarette and her observation of his smell and his "French face, lean, whimsical"?

Atwood is most likely establishing an unreliable narrator who reframes illicit thoughts and actions in a way that would be acceptable in her society. The discrepancy suggests the narrator is most likely protecting herself from possible punishment for impropriety, or she could be internally denying the attraction she feels toward Nick, lest she feel compelled to act on it.

Chapters 40-41: Structurally, what is Atwood suggesting when she has her narrator describe the season as "high summer" and then the "long downward slope to fall"?

Atwood is most likely suggesting that Offred's actions, her involvement with the resistance, her off relationship with the Commander, and her desire for Nick coupled with Serena Joy's scheme for her to get pregnant have probably reached the point in which there can be no more intensification. Succeed or fail, the deciding factor is likely to happen soon.

Chapter 18-19 What irony is exposed in the society's use of words like "unbabies" and "shredders"? What might the term "shredders" imply about the fate of unbabies? Explain how these terms are effective propaganda tools?

Babies with congenital defects, ranging from a hole in the heart to severe physical deformities, are perceived as disposable. Infants have become commodified in a way; society wants to increase the birthrate but considers only healthy babies worth spending resources on. The term most likely suggests that these deformed babies are somehow put to death very quickly after they are born. The terms unbaby and shredder are effective because they completely dehumanize the infants. The society bases its prohibition against abortion on the premise that the embryo/ fetus is a human life and to kill one is murder. These deformed children, however, are "unbabies," and destroying them is justifiable, while aborting them is not.

Chapters 1-2: The narrator wants to help Rita bake bread by "sinking [her] hands into the soft resistant warmth which is so much like flesh." She "hunger[s] to commit the act of touch." What does Atwood's specific word choice suggest?

Bread is both a literal and figurative sustenance; it also has denotations of livelihood and associations with Communion. The comparison of the dough to flesh furthers connections with Communion (consuming the body of Christ) and indicates that the narrator hungers for more than food. The word "hunger" denotes a strong desire and an inherent lack that needs to be filled. "Commit" implies that touching has become a forbidden act, a crime. The narrator yearns for physical intimacy, a union between her and someone else.

Chapters 33-35: As the Handmaids walk to the Prayvaganza, Atwood employs a narrative technique she has used several times before. The narrator says she wishes they could walk all the way to the river. "We aren't going to the river, though," she writes, "we won't see the little cupolas...." What effect does this technique help Atwood to create?

By listing the places her character will not go and the things she will not see, Atwood emphasizes the smallness and emptiness of the Handmaids' lives.

Chapter 18-19 What are the chronological and psychological connections between the beginning of Chapter 18 and the end of Chapter 17?

Chapter 17 involves the Ceremony and ends with Offred's quasi-passionate kiss with Nick. Chapter 18 begins only a brief time after the events of Chapter 17. She has had enough time to return to her room and lie in bed. Psychologically and emotionally, Offred's memory of being pregnant with her and Luke's daughter is most likely triggered by her mysterious encounter with Nick and the Ceremony, the purpose of which was to get the narrator pregnant. The Ceremony exemplified a physical act completely devoid of love or passion. The encounter with Nick was passionate and exciting, but there is no reason to believe either Offred or Nick loves the other. The episode with Luke combines love with passion and the expectation of the product of an act of love. It is the emotion, the love, that Offred longs for, the absence of which makes her feel like a room in which things used to happen.

Chapter 15-17: In what way might the Bible be an "incendiary device"? Why would a theocracy feel the need to forbid reading the Bible on which its laws and values are supposedly founded?

Earlier in chapter 15, Atwood provides evidence that the authorities lie to the citizens of Gilead about what the Bible says. To enforce behavior the authorities want, they claim it is a biblical commandment; to eradicate an undesired behavior, they frame it as a biblical prohibition. This is apparent when Offred is recalling the reading of the Beatitudes at the training center. When an inauthentic Beatitude is read, she notes, "I knew they made that up, I knew it was wrong, and they left things out, too...." However, as the narrator explains it, "there was no way of checking." No one can prove the authorities' lies because individuals are forbidden to read the Bible for themselves. A Bible, therefore, would be an incendiary device because, in the "wrong" hands, it could prove the regime's lies and spark another revolution.

Chapter 42-43: What does the narrator mean when she says, "He has become an it."

Earlier in the novel, the narrator notes that Luke referred to their pet cat as "it" just before killing the animal. The mob of Handmaids has stopped perceiving the accused Guardian as a person, has taken away his humanity so that they can attack and kill him without remorse.

Chapter 44-46 : Why is the narrator's statement "Things are back to normal" ironic?

First, things are not really "normal," even as she understands normal. As soon as she returns to her shopping routine, she learns that her "friend," Ofglen, is gone and has been replaced with a new Ofglen. Second, the "normal" for which Offred is grateful is horrific. Her claims that "things are back to normal" echoes her mother's telling her that any situation can seem "normal."

Chapter 44-46 : What effect does the absence of the first Ofglen have?

If anything, the disappearance of the original Ofglen confirms the reader's suspicions that Offred might herself be on the path that will lead to her destruction.

Chapters 36-37: How do events in Chapters 36 and 37 support, refute, or qualify the main thrust of the Commander's justification of the Republic of Gilead's treatment of women?

In Chapter 34, the Commander claims that, even though the Republic of Gilead took away some of women's individual liberties, women were, in exchange, given a new respect and dignity. By asking Offred to wear the dress he gives her and taking her to the brothel, the Commander shows that women are still objectified and sexualized. The fact that there would be a term like "evening rental" reveals that women are still treated like they are the property of men, their trophies. Given the other losses of freedom, it could be argued that women are now treated more like property than they were before.

Chapters 33-35: What flaw in reasoning underlies just about every point of the Commander's insistence that life for women is better in Gilead than it was in the former United States?

In his defense of Gilead, the Commander commits two basic logical fallacies: begging the question and false dichotomy. He begs the question when he claims that women are better off in Gilead because they do not have to experience such indignities as high school dances and blind dates. He says that, in Gilead, even women who "couldn't [get a man easily]" are able to fulfill their destiny. His support for Gilead begs the question that women in the United States were actually as miserable dating as he claims they were. He begs the question that all women want men, and no woman's life is complete without a man. Since his assumptions about women's lives and attitudes prior to the revolution are not settled issues, the conclusions based on those assumptions are not logically valid. In addition, to whatever extent the Commander's assumptions might be valid, he discusses Gilead's "remedies" as the only possible solutions to the problems. He does not allow for the possibility of any middle ground.

Section 5-6: What is the primary narrative purpose of the episode in which the narrator and Ofglen are walking through the town?

In this episode, Atwood provides exposition about Gilead and the protagonist's background. She layers the past on the present, showing how society has changed even though much of the basic infrastructure remains the same. Not all of the comparisons are negative; for example, the narrator recalls the dangers women once faced. With this comparison, Atwood indicates that some of the social changes were beneficial, though Gilead's motivations and the social costs of such safety may outweigh the benefits.

Section 5-6: What does the protagonist's reaction to the Japanese tourists' appearances reveal?

Initially, she finds their clothes, makeup, and uncovered hair immodest, impractical, and overtly sexual; this reaction shows the degree to which she has internalized Gilead's propaganda. Then, the narrator remembers that she used to dress similarly and is surprised by how quickly her attitude toward what attire is appropriate has changed. She may have thought that she had resisted Gilead's teachings, but she has been brainwashed, at least partially, without realizing it.

Chapters 22-23: How factually accurate is the narrator's account of Moira's escape likely to be? Why? How important is factual accuracy to the overall meaning of this novel? Why?

It is highly unlikely that Offred's account is factual. She admits that she knows only part of it. Part of it she heard third-hand, Aunt Lydia to Janine to Dolores to Alma to the narrator. The story had "passed among [them] that night" and taken on almost legendary proportions: "The thought of what [Moira, now that she was free] would do expanded till it filled the room." On the one hand, the accuracy of the account doesn't matter. The basic fact is that Moira has managed to escape. Dead or alive, she is free. On the other hand, the likelihood that the account is extremely exaggerated is important because it emphasizes the women's need for something larger-than-life and heroic to believe in.

Historical Notes: According to Professor Pieixoto, how did The Handmaid's Tale come to be titled?

It was a pun by professor wade referring to the end or tail "bone of contention" in gileadean society

Chapters 33-35: Compare Janine and her situation to the narrator's. What might Atwood be suggesting with these parallels?

Janine used a man other than her Commander to get pregnant, which is just what the narrator's doctor "offered." Offred is now considering using Nick for this same purpose. Janine, however, seems to have been more thoroughly indoctrinated into Gilead society than Offred has, and there is evidence that she has psychological or emotional problems. The narrator is apparently resisting indoctrination more successfully, but even she has expressed fears of losing her mind. By portraying the two women as so similar, Atwood might be foreshadowing what might happen to Offred.

Chapter 15-17: What narrative purpose does Atwood achieve by using language that some of her readers might find offensive in her account of the Ceremony?

Just as some of Atwood's readers are likely to find the narrator's choice of verbs vulgar, Atwood is emphasizing the basic vulgarity of the Ceremony itself. To the narrator, despite the society's attempts at indoctrination, the Ceremony is degrading to everyone involved.

Chapters 22-23: What is significant about the words Aunt Lydia and Janine would have used in greeting and the manner in which they would have delivered those words?

Lydia's greeting, "Blessed be the fruit...," is a direct quotation from the Gospel of Luke, Chapter 1. The elderly Elizabeth greets Mary, the mother of Jesus, by exclaiming, "Blessed are you and blessed is the fruit of your womb." The "fruit," of course, is Jesus. Janine's reply, which is not strictly biblical, does call to mind the number of times, especially in the Old Testament, a woman's conceiving and giving birth is referred to as "opening [her] womb." The greeting is yet another example of how indoctrinated the citizens of Gilead are to the republic's one-sided, theocratic dogmas. The fact that both Lydia and Janine greet each other in a careless and offhand manner ("Blessed be the fruit, Janine, Aunt Lydia would have said, without looking up from her desk...May the Lord open, Janine would have replied, tonelessly...") suggests that the women have been so inundated with dogmatic propaganda that the words of greeting have lost whatever religious significance they were supposed to have. Even those most immersed in the society give no serious thought to the words they use every day or the significance these words are supposed to have.

Chapter 13-14: What is the significance of the bit of physical play between the narrator and Nick? What potential conflict might Nick's small action foreshadow?

Nick's touching the narrator's foot with his is an explicitly forbidden act. Atwood makes certain the reader realizes it is intentional by having the narrator move her foot only to have Nick move his so they are touching again. There has been evidence of a mild flirtation between the two, but this is the most overt evidence Atwood gives the reader so far. On the one hand, Nick's actions might be simply another act of flirtation, which would be dangerous enough for the two of them if they were caught. On the other hand, Nick's apparent disregard for the society's laws and values is becoming more obvious to the reader, and this could suggest the development of a resistance plotline. Given Nick's role in the household, and the mystery surrounding the narrator's predecessor, though, it is also plausible that Nick is trying to trap the narrator in a betrayal of the Republic.

Chapters 7-8: 1.Why is the night special and significant to the narrator?

Night is the only time she has to herself, so she does not feel the need to police her own thoughts at night. Though she remains in the bedroom, she is free to dream, whisper, and go where she wants in her imaginings.

Chapter 13-14: In the novel, every other section is titled "Night," with this one exception, "Nap." Explain why this section has a different title.

Night is the time the narrator has to herself; however, the night during which this section takes place includes the Ceremony. The protagonist has only a short time by herself, not the entire night, but long enough for a nap.

Chapter 44-46: Explain the ambiguity of Offred and the new Ofglen's conversation. What narrative purpose does this ambiguity achieve?

Offred admits that she opens the conversation with intentionally vague statements in an attempt to gauge the new Ofglen's reaction, while hopefully keeping her own attitude secret. However, she does not know whether Ofglen's comment, "Let that be a reminder to us," is indeed a warning against sedition or a call for solidarity. Since she does not know the intent of the statement, she does not know whether to agree with the warning or risk being identified as a conspirator. The exchange about "May Day" is a little clearer but still leaves Offred wondering whether the new Ofglen is loyal to Gilead. The primary purpose achieved by this ambiguity is suspense. Atwood has shown the consequences—for Handmaids, Wives, and Guardians—of opposing the republic. Now, she complicates the question of whether Offred is on the path to victory over her oppressors or will be captured and punished.

Describe the relationship between Offred and her mother. What conflict existed? How does Offred feel about it now, in retrospect?

Offred was born when her mother was thirty-seven, and her mother never let her forget that she was a wanted child, a definitive choice. Her mother was a feminist and felt that Offred was a "backlash" who had no idea what her mother's generation had to go through to get Offred's generation to where it had been—men cooking, for example, and helping out around the house. Offred admired her mother, but did not want to "live [her] life on her [mother's] terms." Now, however, Offred just wants her mother back. She "want[s] everything back."

Chapter 44-46: What does Offred's list of things she could do echo? Why is this technique especially effective at this point in the narrative?

Offred's mulling over her list of options is similar to other times throughout the story when she listed all of the things she and Moira or she and Ofglen could have done and then follows through with a list of what they did not do. In those instances, the effect was to emphasize the dull passivity of Of fred's life. Here, Atwood employs this now-familiar technique to emphasize not only Offred's inactiv ity but her feeling of paralysis. She does nothing because, ultimately, there is nothing she can do.

Chapters 36-37: What might Atwood be suggesting when she, first, has the narrator note of the atmosphere in the hotel's atrium, "Is there joy in this? There could be, but have they chosen it? You can't tell by looking," and later, the Commander says of both the former prostitutes and the women who were once professionals that they "prefer it...[t]o the alternatives"?

Offred's observation and the Commander's suggestion that the women who work in the brothel are there by choice might suggest that, in an odd and unexpected way, some vestiges of the former world still exist. Not all women were either assimilated into their new roles in the society or sent to the Colonies. Some seem to have been given a choice.

Chapters 22-23: What effect does Offred create by telling the reader that the Commander was "so sad"? How does the next sentence, "That is a reconstruction, too," alter that effect?

Offred's observation that the Commander was sad makes him appear a little more sympathetic to the reader. He is not a monster, but a human who is also a victim of Gilead's extremist views and practices. Like the narrator, he longs for some kind of human intimacy. He would like to be kissed as if the woman "meant it." However, as soon as Offred allows the reader to sympathize with the Commander, she weakens the sympathy by suggesting that his "sadness" might only have been her impression or recollection of the event. This account is, after all, a reconstruction, not the actual, original truth.

Historical Notes: What tone does Pieixoto take with the "item" and the women in general? Given this, why do you think Atwood included the Historical Notes as part of the novel?

Pieixoto takes no stance on women in general, and is purely analytical when it comes to the "item", a US army issue box full of cassette tapes. Atwood probably included the historical notes to draw an analogy to how modern historians discuss past societies.

Historical Notes: What is Professor Pieixoto's attitude toward Gileadean society?

Professor Pieixoto has an analytic attitude towards Gileadean society.

Chapter 13-14: Where were the narrator, Luke, and their daughter traveling to?

Readers can infer that because the family carried fake passports and drove north, they were headed towards Canada in order to escape the Republic of Gilead.

Chapters 33-35: 9. What is the narrative and thematic significance of the sequence that ends with Serena Joy bringing Offred the photograph of her daughter?

Serena Joy enters with the photograph of Offred's daughter almost immediately after Offred arrives at the tacit conclusion that her husband is dead. Intellectually, she tries to force herself to think of him in the present tense, but she upbraids herself that it is so difficult. Seeing the photograph only intensifies her grief and leads her to realize that, for all intents and purposes, the daughter is also dead.

Chapter 13-14: How has the narrator's view of her body been altered?

She used to see her body as her own to be used as she saw fit, "an implement for the accomplishment of my will." Now, however, it has become an instrument to fulfill others' desires. Each month, when she realizes that she is not pregnant, she feels as if she has "failed once again to fulfill the expectations of others, which have become my own." She has lost control of her body, and she has lost control of her own will.

Chapters 7-8: 2. Who is Moira to the narrator? How does she function as a character?

She was the protagonist's close friend in college who was also chosen to be a Handmaid, though she was perhaps not as willing as the protagonist. Moira is rebellious and inclined to question and push against the status quo, so she serves as a foil to the more cautious protagonist, who is willing to comply with Gilead's policies in order to survive.

Chapters 22-23: What are some of the many ways a simple game like Scrabble would be so significant to the Commander? Why would Atwood have chosen to have the characters to play this specific game?

Since Scrabble is a word game, it suggests a form of communication, even if it is communication on the lowest, most basic level. Also, since Scrabble is a word game, playing it essentially constitutes reading, which is forbidden to women. The illegality of the game heightens the potential danger for the narrator. Scrabble is also a game that requires intelligence, both to form the words and to find the most advantageous spaces on the board. By asking Offred to play this game with him, the Commander is tacitly acknowledging that he considers her more than merely the vessel of his hoped-for child but an intelligent human being, possibly almost his equal.

Chapter 28-29: What are the narrative and thematic effects of Atwood's choice to follow Offred's newfound hope of resistance with her memories about the revolution that first established Gilead?

Structurally, the two instances depict important rising action in the two parallel plots Atwood has been developing: the tale of Offred, the Handmaid in Gilead, and the story of an unnamed wife and mother in the final days of the United States and the early days of the Republic of Gilead. Thematically, the two passages depict a woman's complete loss of power and the first hope of regaining that power.

Chapters 33-35: What is a "Prayvaganza"? What might the existence of such an event and the name bestowed upon it be intended to satirize?

The "Prayvaganza" is a mass wedding ceremony for the Wives' daughters, some of whom are only fourteen years old. Its name—a portmanteau of the words "prayer" and "extravaganza"—is intended to sound cheap and flashy, completely out of keeping with the alleged spirit and purpose of the occasion. Atwood is probably satirizing the excessive spectacle often associated with extremist religions. This is especially apparent when Atwood has her narrator tell us that this is only a district-wide ceremony. If it were citywide, it would be held on the football field. She even comments that the ceremony is a show, something like a circus.

Chapter 44-46 : Explain the significance of the image of the narrator holding a "handful of crumpled stars" in her lap. What is ironic about the narrator's word choice?

The "stars" represent the narrator's hope for escape or deliverance or safety. The irony is that, even though the stars are now crumpled, there never was any real hope to begin with. Everything has been deceit and illusion. She herself has admitted this.

Chapter 38-39: What does the presence of an Aunt at the restroom door and her behavior toward the narrator and the other woman reveal about the Republic of Gilead?

The Aunt's presence in the club suggests at least two ideas: First, clubs like this are far less secret and illicit than the Commander might admit. Clearly, while some of the republic's moral restrictions are relaxed for the sake of high-ranking men, other important parts of the moral code are still intact. This leads to the second idea, which is that, even though clubs like Jezebel's appear to have allowed some women some freedom of choice, a third alternative to assimilation or exile, women in the club are still as closely watched and controlled as are all the rest. The Aunt's refusal to let the woman behind the narrator take another break emphasizes that the women in Jezebel are working. They are not enjoying a leisurely night out.

Chapters 33-35: In what way is the narrator's claim that her life has "no meaning...No plot" metafictive? What effect does Atwood achieve by using this technique?

The Handmaid's Tale is almost entirely character-driven rather than plot-driven, focusing on the narrator's reflections and associations. The main plot is simply a chronological march from day to day in Offred's uneventful life. The secondary plot is loosely structured and completely dependent on Offred's internal monologue. The narrator's lament that her life has no plot draws the reader's attention to the fact that Offred's life is a story that is unreliable at best and completely fabricated at worst.

Chapter 33-35: Explain how the seating arrangement at the Prayvaganza denotes social status.

The Wives and daughters of high-ranking officials and officers are the only women who have chairs because they are too prestigious to stand or sit on the grass. The Marthas and Econowives stand in the upper galleries, where they will not be seen by or disturb the higher-status women. Handmaids sit across the aisle from the Wives and daughters, which gives the illusion that they are equal; however, the Handmaids must kneel, which shows their subservient position. The Handmaids are also cordoned off as though they need to be restrained or quarantined.

Chapter 44-46: Explain the ambiguity of Offred's account of events in Chapter 46. What thematic purpose does this ambiguity serve?

The ambiguity is that the reader does not know whether Offred has been arrested by the authorities or rescued by the resistance. Throughout the entire novel, Atwood has been ambiguous and unclear. The narrator has confessed to having a faulty memory and of altering or "reconstructing" people and events. She has acknowledged when it was possible that others were lying or mistaken or when she herself might have arrived at a wrong conclusion. Atwood's most likely reason for ending the narrative this way is to leave her exploration of the relativity of truth unsettled.

Chapter 13-14: Why is it significant that Atwood does not reveal that the protagonist is called Offred until the Ceremony?

The breeding ceremony necessitates direct interaction between her and the Commander and illustrates his possession of her; thus, she would be most aware of the connotations of the name Offred at this time. The name is revealed, however, with the protagonist thinking, "My name isn't Offred...," so she is silently resisting and mentally escaping her role as a Handmaid.

Chapter 13-14: What point is Atwood suggesting in having the narrator reflect on the paintings, pigs on farms, and rats and pigeons in laboratories?

The central issue of this passage is boredom. The narrator herself is bored, with nothing to occupy her mind or her hands. She projects her boredom onto the female subjects in the eighteenth-century paintings and says they are "objects not in use." She, too, is an "object" waiting to be used. Her reflections about the pigs, rats, and pigeons illustrate both the need for mental stimulation and the extreme hazards of boredom. Even pigs, which have no purpose other than to be slaughtered for meat, are kept from becoming bored. The tests the narrator remembers show that even presumably unintelligent animals like rats and pigeons will kill themselves rather than succumb to boredom.

Chapters 11-12: On what kind of note does Chapter 12 end? What is the significance of the butter?

The chapter ends on an expectant note. The narrator is nervous—so nervous she has difficulty eating her meal. She is preparing herself—both physically and emotionally—for something. The hiding of the butter contributes to the suspense of the end of this chapter. The narrator does not eat it. She says that she has hidden butter before. Her observation that it would not be good to "smell of butter" suggests that she might intend to apply the butter to her body and use it as a salve or balm. Her fear of smelling of butter on this evening further suggests that whatever she is preparing herself for will involve physical closeness to another person—at least close enough that the other person will be able to smell her.

Chapters 33-35: What earlier sentiment does the narrator echo while examining the photograph of her daughter?

The child in the photo is smiling, and Offred concludes she has all but forgotten her former life, especially her mother. This conclusion recalls Offred's observation during the Prayvaganza that children under a certain age will have no memory of life before Gilead. For them, the repressive republic will seem normal.

Chapter 38-39: What does Offred learn about the women at the hotel? Who is the woman at the door of the Ladies' room? Who are the majority of the other women? How did they come to be there?

The conversation between Moira and Offred does not advance the plot at all or provide any additional insight into either character's development. It is simply a vehicle for plot exposition, satisfying the curiosity of any reader who might be curious about what happened to Moira and new information about the Underground Femaleroad and how it functions. The knowledge of such a movement might be a source of additional hope for the narrator, but that is not apparent from this passage.

Chapters 11-12: What aspect of Gileadean rule does the prohibition of the word "sterile" reinforce? What are some of the potential motivations for such a prohibition and the attitude it inspires?

The fact that there are no sterile men, only infertile women, emphasizes the complete domination of males over females in the society. One of the problems that motivated the Revolution was a severely declining birthrate. By not admitting to male sterility, the society places full blame for the low birthrate on the woman. By the same token, any Wife or Handmaid who fails to conceive must be infertile; there are no sterile men. There are a couple of reasons for adopting such a viewpoint. It is politically and societally advantageous for men to hold women responsible for the low birthrate. Once the scapegoat is identified and agreed upon, appropriate action can be taken to punish it. The desire to "protect" women and their precious fertility is a strong reason to remove them from the stresses of public life and require them to remain in the private sphere. Finally, there are numerous accounts of infertile (or barren) women in both the Old and the New Testaments, but there are no accounts of sterile men. Gilead's social values simply echo this perspective.

Historical Notes: What were the justifications for the Particicution ceremony?

The justification was that it was a way to relieve societal tensions and be an outlet for women to prevent them from retaliating against the regime.

Chapters 11-12: What is the narrator suggesting when she says that, "at the time," she thought her daughter's near-abduction was an isolated incident?

The narrator is suggesting that, even though the Revolution had not yet occurred and the Republic of Gilead not yet established, some movement had already begun that identified "unfit" parents and tried to "liberate" their children. The narrator and her husband had become targets, although they didn't yet realize it.

Chapters 33-35: Approximately how long ago was the Republic of Gilead established? How is this information revealed in this passage?

The narrator notes that the fourteen-year-old brides remember life before, but that after five years, the new brides no longer will. Children generally have few memories from before the age of five. The girls who are nine years old at this point won't recall the former way of life when they are married in five years; therefore, Gilead must have been founded about four or five years ago.

Chapter 15-17: What two notions does Atwood juxtapose in the narrator's description of Serena Joy's bedroom? What central theme does this juxtaposition emphasize?

The narrator notes that, if her eyes were open, her main view would be of the white canopy of Serena Joy's four-poster bed. She would not see it, but she knows the room's carpeting is also white. In Western tradition, white is often associated with purity, chastity, even virginity. T he white fabric of the canopy, however, is "sprigged" with a pattern that the narrator finally concludes "turn[s] out to be four-petaled flowers." Flowers have already figured into the imagery and symbolism of this novel to represent fertility. The juxtaposition of these almost contradictory notions provides a summary of the conflicting goals and values of the Gilead theocracy. They want to maintain the appearance of feminine modesty and virtue while at the same time increase the birthrate.

Section 5-6: What clues does Atwood provide in these chapters about the protagonist's former life? What conclusions do these clues point to?

The narrator recalls looking at houses with a man named Luke, who is presumably her husband. In another flashback, Luke worries about a girl suffocating on a plastic bag, which suggests that he and the protagonist had a daughter.

Chapter 13-14: Explain how the narrator's brief summary of the newscast reveals it to be little more than propaganda.

The narrator says at the beginning of the newscast, "[W]ho knows if any of it is true? It could be old clips, it could be faked." Later, she says that the supposed captured "Baptist [guerilla]" is "[p]ossibly...an actor." From her summary of the newscast, all of these common propaganda techniques can be inferred: • Transfer is the technique by which the propagandist either glorifies or condemns the subject of the propaganda by associating it with a positive or a negative image. The narrator describes the captured "Baptist guerilla": "stubbled and dirty face...He gives a lopsided little grin." This description is in contrast to the "two Angels in their neat black uniforms" who have captured him. The Angels are the "good guys" in neat uniforms. The "bad guy," the "Quaker," is dirty and unshaven. The imagery the narrator describes is clearly designed by the producers of the newscast to elicit positive feelings for the Angels and negative for the rebel. 18 The Handmaid's Tale TEACHER COPY STUDY GUIDE Similarly, the newscaster himself is "kindly" and "fatherly...white hair and candid eyes, wise wrinkles around them, like everybody's ideal grandfather." Even if the narrator does not believe what he says, she admits, "If only it were true. If only I could believe." The affectionate association aroused by the well-chosen newscaster has a powerful effect on even the cynical narrator. • Scapegoating and name-calling are two related techniques. In scapegoating, the propagandist places all of the blame for a society's problems on a single person or group. The technique encourages people not in the scapegoated group to focus all of their anger and hatred on the scapegoat. It can reduce conflict between diverse groups in a society by setting them all against a common enemy. Name-calling further focuses hate and anger toward the scapegoated group by turning either their name or title into an expletive, an obscenity. In the newscast, all of the enemies are Baptists or Quakers. The Quakers are "heretical." Regardless of who these rebels really are (or, as the narrator says, they may simply be actors playing roles), hanging labels on them and then blaming them for the current war are clever ways for the government to ensure the people's loyalty and obedience. • Euphemism is illustrated when the newscaster discusses the progress made in the "Resettlement of the Children of Ham," which is clearly the forced relocation of blacks and possibly other minority racial and ethnic groups. • Finally, the narrator's revelation that the newscasts "only show...victories, never defeats" is a common technique that goes by many names. The narrator sums up its use and effectiveness when she asks, "Who wants bad news?" NOTE: Students might not know the actual terms, but they should be able to recognize and describe the techniques.

Chapters 40-41: What realization is explored in Offred's description of her and Serena Joy's reflections in the mirror?

The narrator says, "I see the two of us, a blue shape, a red shape, in the brief glass eye of the mirror as we descend. Myself, my obverse." While obverse might seem at first to refer to Offred's reflection, there are clearly two reflections in the mirror—red and blue, the Handmaid and the Wife, Offred and her "obverse." Different as they may seem, they are two sides of the same coin and, therefore, not so different.

Chapter 44-46 : What earlier event does Atwood echo when the narrator confesses that she is relieved that the first Ofglen killed herself? How is this iteration of the narrator's sentiment especially significant?

The narrator's reaction to news of the original Ofglen's suicide echoes Chapter 27 when, immediately after the two Handmaids reveal their anti-Gilead sentiments to each other, the van appears and a man is arrested by the Eyes. The narrator expresses her fear that her anti Gilead comments may have been overheard, and she admits that she is relieved the Eyes have not come for her. Her expression of relief on hearing that Ofglen is dead emphasizes the total control the leaders of Gilead have over the people. Friendship, confidentiality, all forms of personal intimacy are prohibited and prevented. Handmaids are not even allowed to know each other's name or history. They are supposed to be as interchangeable to each other as they are to the families they serve. Ofglen was the closest thing to a "friend" Offred had in Gilead, but her first reaction on hearing that Ofglen is dead is not grief but relief. Even after months of "friendship" and confidentiality, Offred is still suspicious enough to believe that Ofglen would betray her to the authorities. These thoughts illustrate how effective the republic's methods of isolation and control really are.

Chapter 44-46: What is the effect of the Handmaid's statement "I am Ofglen"? Why does it have this effect?

The new Handmaid's simple declaration is extremely troubling, possibly even horrifying. The matter-of-factness with which the woman assumes her new identity, the apparent ease with which she sheds any former identity she may have had, and the reader's realization that the other Ofglen never officially existed as a person separate from her Handmaid duties all drive home the full plight of women in this society: The individual simply does not matter.

Chapters 33-35: How is it possible that the network knows about the narrator's meetings with the Commander? If true, what are the possible ways this development might affect the plot?

The only three people who know about the meetings are the Commander, Offred herself, and Nick. Since Offred did not give herself away, and it is unlikely the Commander would report his arrangement to the resistance, Nick must have shared the information. This would suggest that Nick is a part of the resistance. Given Offred and Nick's already strong mutual attraction for each other, the fact that Nick is the liaison between Offred and Commander, and the fact that the Wife has already spoken to Offred about using Nick as a surrogate to get Offred pregnant, the possibility of Nick's being in the resistance brings the narrator herself deeper into a resistance as well. Already, Ofglen has told Offred to learn everything she can about the inner working of Gilead and report it. On the other hand, if Nick and Ofglen are not part of the resistance but are Eyes, the narrator is now closer to possible betrayal and arrest.

Chapter 13-14: What is the effect of the line "my feet in their neat red shoes count the way down"?

The reference to the narrator's feet moving as if of their own volition emphasizes that the narrator has lost control of her own body. Her body is no longer the instrument for fulfilling her will but the instrument for others to fulfill theirs.

Chapters 22-23: What is ironic about the Handmaids' status in their homes? Why would this status be important in a society like Gilead?

The relationship between a Commander and a Handmaid is not for pleasure but for procreation. The same act—if done for pleasure—would be the sin of adultery. With all of the pleasure and personal intimacy removed, the Ceremony can be justified as a necessary, noble act.

Chapter 13-14: In what ways is the public humiliation of Janine both ironic and effective?

The shaming session is ironic because it is a classic example of blaming the victim. As we have seen in earlier episodes, women in Gilead are held responsible for the "unthinkable things" that happened to them in the former times. It is effective because all of the other women participate. Instead of serving as Janine's support, they become her accusers. And while they are screaming at Janine, they actually lose control of themselves: "...even though we knew what was being done to her, we despised her...We meant it, which is the bad part." The session is effective because it destroys any solidarity that may have existed among the women. None of them wants to be put through what they put Janine through, so they participate in her humiliation. Finally, it is effective because, even though Janine most likely knows that she is the victim and does not deserve their treatment of her, the next week when she testifies, she willingly accepts the blame. She has been successfully brainwashed to the point that she can blame herself for being raped and impregnated. The other women also learn that they have no refuge or support—not even in each other. Each will eventually turn on herself as well and accept the "blame" for whatever it is they might testify about at these sessions.

Chapter 44-46: What narrative effect does Atwood achieve by juxtaposing Offred's acquiescence to the republic's control and her being confronted by Serena Joy?

The two events provide a sharp contrast to one another, made even sharper by their closeness. After she hears of Ofglen's suicide, Offred feels safe, and she vows to act in way that will keep her safe. Suddenly, the confrontation with Serena Joy shows that she is not safe and that she is actually the cause of her own danger.

Chapters 22-23: What does the narrator mean when she says her story is a "reconstruction"? What questions about "truth" and storytelling does this admission raise?

The word "reconstruction" suggests creation, putting together something, especially after it has been either taken apart or destroyed. A "reconstruction" might resemble the original and even comprise many parts of the original, but it is not the original. Offred's observation raises the question of how much in storytelling is true (i.e., factually accurate), how much closely resembles the facts, and how much is simply made up. The observation raised the further question, however, of whether accuracy is necessary for the story to be "true," as long as the reconstructed impressions and feeling remain true.

Chapters 7-8: 3. How are the flashbacks in which women are burning pornographic magazines and the language Atwood uses to narrate them ironic?

There are several ironies in this episode: • First, the episode takes place before the revolution when citizens enjoyed legally-protected personal freedoms, but it is essentially censorship that is taking place. • The narrator remembers that she was upset with her mother for lying to her and taking her to a rally when Saturday was supposed to be their day together, and this event is juxtaposed in the narrator's mind with the memory of discovering that her daughter has been taken away because she, the narrator, was "unfit." • The imagery of the leaping flames, the soot-stained faces contorted with ecstasy, is horrific, but the narrator remembers the scene as cheerful, "like a Christmas card." • The ostensible reason for the demonstration is to destroy items that represent the objectification of women, but the language Atwood uses to describe the burning magazines intensifies this objectification. • The act of burning objectionable objects, and the protest that it is fine for her mother to destroy the magazine but not see it, seems more like an act in Gilead in which women are "protected" from such vulgarity.

Chapter 42-43: What idea is Atwood attempting to convey with the disparate comparison of the rope used in the Salvaging as "like a fuse, or the string of a balloon?"?

There can be two meanings to this simile: 1. The two objects can express the views of deaths of the women. The fuse emphasizes the destructive and violent nature of the women's deaths. The string of a balloons possible suggest the lightness and joy of the freedom these women will find in death. The high suicide rate in Gilead would make readers realize that death would be a state to be desired, rather than feared. 2. The effect on the crowd. Their participation in the killing-holding the "fuse"-might suggest that these executions might eventually ignite the rebellion the Handmaid's secretly long for. Comparing the rope to a strong for balloons, however, advanced the festival atmosphere for the leaders of Gilead attempt to create at these spectacles.

Why is life hardest for Offred's generation of Handmaids, the "transitional generation"?

They have memories of society before the Republic of Gilead took over, and they want life to return to the way it once was.

Historical Notes: Pieixoto spends much of his keynote speech discussing Frederick R. Waterford and B. Frederick Judd, one of whom was likely Offred's Commander, rather than talking about Offred herself. What does his focus suggest about women in history?

This focus was intended to draw to attention that history often talks more about men than women.

Chapter 15-17: Why is it significant that the narrator recalls Moira's escape attempt when she is about to perform the Ceremony?

Two ideas Atwood is probably illustrating here are that (1) escape from Gilead is essentially impossible, and there are heavy consequences for trying; and (2) as bad as the role of the Handmaid might be, the alternatives are probably worse.

Describe Commander Warren's Wife when Offred enters their home. How is her positioning farcical?

Warren's Wife is a small, thin woman lying on the floor, with all of the other Wives gathered around her. Her graying hair is spread around her "like mildew over the rug." The Wives are massaging her "tiny belly, just as if she's really about to give birth herself." All of these details—the fact that she's tiny instead of bloated with child, gray of hair, and surrounded by women just like her who are playing to the absence of any child in her womb—accentuate the ridiculous nature of the scene.

Chapter 15-17: What is the clear implication of the narrator's comment "The Commander, too, is doing his duty"?

This Ceremony is uncomfortable and unpleasant for everyone involved. It is a pleasant experience for no one.

Chapters 40-41: What is the effect of the narrator's detailing her encounter with Nick twice, both versions false?

Offred reveals that she wanted the experience to have been romantic and sensual, but every time she relates what "didn't happen that way," she emphasizes the danger and the artificiality of the incident. The false accounts are also stereotypical portrayals: the passion of a romance novel and clichéd dialogue. By resorting to these conventions, Offred reveals how difficult it is for her to genuinely recount her experience.

Chapter 18-19 For what possibilities is Offred "hoard[ing]" her sanity? What evidence has Atwood provided so far in the text to support each of these possibilities?

Offred says she is hoarding her sanity so she will have enough "when the time comes." There are two likely possibilities for what she means. The first is suicide. From the beginning, the narrator has been focused on suicide and has considered her own. She explains that she knows why the windows are unbreakable and why the chandelier and the glass in the picture frames have been removed. While she watches Serena Joy working in the garden, she admits that she would like to steal the Wife's pruning shears. In the previous chapter, she expresses a desire to enter the kitchen and steal a knife. Offred knows that suicide is common among the Handmaids and that it is just about the only reliable escape. She has been half-imagining and half-planning her own suicide since the story began. She wants to make sure she is sane enough to do it "when the time comes." The other possibility involves either escape or joining a resistance movement. We know from many of the flashbacks that Offred, Luke, and their daughter tried to escape to Canada. This chapter reveals that she harbors some hope that Luke might actually have succeeded and that he will one day come back for her. As we have seen, however, with her own capture and with the account of Moira's failed attempt, escape is difficult, if not impossible. This chapter also reveals that Offred suspects that there must be a resistance movement, and she somehow expects to be contacted by them. It is possible she hopes to hoard her sanity so that she will "have enough, when the time comes" to join the resistors.

Chapters 7-8: 6. What further point does Atwood make in the narrator's reflection about you at the end of Chapter 7?

One of the key conventions of a first-person narrated novel is that the narrator is telling the tale after the events of the story are already over—so the narrator knows what the outcome of the story is. The narrator of this novel reflects that her telling of this story is an interior monologue. She must, therefore, create an audience. But she is worried not to draw any real person into her narrative lest she create trouble for that person. Therefore, she decides to identify her "audience" merely as you, the person in her mind to whom she is telling the story

Chapters 40-41: What is the full psychological significance of the narrator telling Nick her real name? Why doesn't Atwood reveal the name to the reader?

- By telling Nick her real name, the narrator both reestablishes her identity and invites Nick to a deeper level of intimacy than she had yet attained in Gilead. He now knows her fully, not only her in relation to her job and assignment. - The most likely reason Atwood does not reveal the narrator's name to the reader is that this story is the tale of a Handmaid; it is almost a parable, not simply the tale of a specific woman and her specific experiences. In the broader tale Atwood wants to tell, this particular woman's name is irrelevant

(CHAPTER NINE AND TEN) 4. What is Atwood suggesting with Aunt Lydia's protest "Don't think it's easy for me either"? What in the text suggests it?

Atwood is most likely suggesting that Aunt Lydia is unhappy with Gilead and her role in the society. There are things—like sunbathing and picnics in the park—that she misses as much as the women in the training center do. This is implied by the way Lydia breaks into tears while supposedly criticizing the past: "In the park...lying on blankets, men and women together sometimes...." The fact that she cries and then protests, "I'm doing my best... Don't think it's easy for me..." strongly suggests the extent to which she misses the past and performs her present role reluctantly.

Chapter 30-32: What is ironic about the way Offred handled the killing of the cat? What is significant about her expression of regret?

Earlier, immediately after the revolution, Offred claimed that Luke seemed not to mind that they were no longer equal to one another. She suspected he enjoyed his new status as her protector. Now, she is admitting that in this crucial moment, she thrust him into the role she earlier accused him of enjoying. She did not go with Luke when he took the cat into the garage to kill it. Instead, she let him handle that emotionally difficult task on his own. She allowed him to be "the strong one" and did not offer even moral support or comfort afterwards. Her recollection of this key Luke episode and her admission of regret again come after she and Nick have had an exchange of glances and she admits that she "hungers" for him. She also admits that, in this hunger, she may have been looking at Nick as a surrogate for Luke, but "[t]hey cannot be exchanged, one for the other. They cannot replace each other."

Chapters 7-8: 7. What is the effect of the juxtaposition of going out for ice cream in sundresses and sandals with the "three new bodies on the Wall"?

Eating ice cream was once a typical summer activity, so the juxtaposition with seeing hanged bodies implies that the display of executed people is becoming horrifyingly normal. The juxtaposition also shows that the protagonist tries to hold on to her happier past, despite, or because of, the terrible things she witnesses on a daily basis

Chapters 3-4: Based on clues provided in the novel so far, what can the reader infer are some of the elements of a dystopian society? Provide examples of each element you name.

Even if this is the first dystopian novel the student has ever studied, it should not be difficult to recognize the following as elements of dystopia: • loss of personal freedom—The narrator clearly has not chosen her current role or status; Cora's comments about having her tubes tied suggests her role was not her choice but was assigned to her. • loss of personal privacy—The living and sleeping conditions in the training center exemplify this. • suicide as an escape—The narrator's description of "her" room makes it clear, first of all, that the authorities do not fear the Handmaids' running away as much as some other form of escape frightens them. The specific detail of there being no breakable glass with which the Handmaids might injure themselves and the removal of the room's chandelier from which they might hang themselves suggest that suicide is so prevalent that the society must take proactive steps to prevent it. • censorship or societal control of thought and communication—The controlled manner in which the narrator and Ofglen communicate and the secretive wink from Nick both suggest that personal communication is highly regulated and that certain forms of communication are prohibited. • isolation of individuals—The Handmaids-in-training are not even allowed to know one- another's names. The scene in which the narrator goes shopping is the first time she meets Ofglen, and she admits she does not know what had happened to her former shopping partner; the narrator explicitly tells the reader it is forbidden—and not really worth even trying—to become friends with another person who might turn out to be a spy or simply disappear one day without a trace; the awkwardness among the narrator, Rita, and Cora also illustrates that at least the Handmaids are kept in relative isolation from other people, most likely as a means of control.

Chapters 3-4 What is the significance of the red tulips with "a darker crimson towards the stem, as if they have been cut and are beginning to heal"?

Flowers often represent fertility and femininity, so the red tulips likely symbolize the Handmaids. The word "crimson" means not only "deep red" but also "sanguinary" or "bloody." The tulips are "darker crimson towards the stem." In terms of figure, the bottom of the flower would correspond with a woman's pelvic region, the locus of the woman's fertility. The fact that the flowers are tulips might also allude to the acronym for the five main Calvinist teachings: • Total depravity: All people are corrupted by original sin. • Unconditional election: God determined who will receive eternal life or damnation. • Limited atonement: Christ did not die for all of humanity, only those who are predestined to be saved—the "elect." • Irresistible grace: The elect cannot resist God's saving grace. • Perseverance of the saints: Once an individual is saved, he/she is always saved. So, the theocratic basis of the society might be founded on some version of Calvinist doctrine, especially as practiced by the early New England Puritans.

Chapters 7-8: 10. What is the symbolism of the tulips? How does the context in which the narrator comments on them here emphasize this meaning?

Flowers, especially tulips, have already been established as suggesting femininity and fertility. In this passage, the narrator notices the tulips—especially that they are redder than they were before (suggesting perhaps increased fertility)—within seconds of her seeing Nick for the second time that morning. This time, he whistles at her and speaks to her, both lewd behaviors according to the values of Gilead.

Chapters 7-8: 12. What is significant about the narrator's reaction to the Commander's violating custom? How might this encounter constitute the inciting incident of the novel?

For the first time in the novel, the narrator allows herself to feel real emotion. She wonders, "[W]hat in hell does he think he's doing?" Until this point, the narrator's responses have been controlled and analyzed, as she concentrates on surviving. The bedroom is the first thing that she has thought of as belonging to her. She is claiming a space within the household and within Gilead. Up until now, Atwood has shown the narrator engaged in routine activities and providing necessary exposition about the narrator's current life. This encounter with the Commander, the emphasis that the Commander's presence in this part of the house is a serious breach of protocol, and the narrator's strong reaction to it all suggest the first out-of-the-ordinary events in the novel. The reader's suspense is aroused: Why was the Commander there? How will his presence there affect the narrator's perception of him? Of her role in the household? Will this breach and the narrator's discovery of it lead to any other encounters between the two?

Chapter 18-19 How does the decline in birthrate explain the policies of the Republic of Gilead?

Gilead enacted the policy of Handmaids and government-mandated conception out of fear that the population would die out because not enough children were born to replace the aging population. Few women would voluntarily risk pregnancy, so Gilead presented them with little alternative. When given the choice to become a Handmaid or clean toxins in the Colonies, many women chose to procreate.

Chapters 1-2: What does Cora's comment about having her "tubes tied" suggest about a Handmaid's duties?

Having one's "tubes tied" is a colloquialism for a surgical procedure that renders a woman unable to conceive children. It is a voluntary birth control procedure. If Cora might have become a Handmaid were she still capable of conceiving a child, then Handmaids are expected to bear children.

Chapters 30-32: How is Serena Joy's scheme an ironic twist on the supposedly biblical foundations of households like the Commander's? Explain the irony inherent in Serena's suggestion of how Offred could become pregnant.

Households like the Commander's, which comprise a Commander, a Wife, and a Handmaid, are ostensibly based on the Old Testament accounts of Jacob. As Jacob had fathered children by his other wife, the failure to conceive was, of course, presumed to be Rachel's. Serena's scheme is ironic in that it, first, acknowledges the possibility of male sterility and, second, reverses the gender roles of the key characters; Nick now becomes the Handmaid, the vehicle by which the narrator can conceive.

Chapters 30-32: What narrative and thematic purpose does Atwood achieve by placing Offred's reflection about Jews in the Republic of Gilead immediately after the account of her impassioned prayer?

Immediately following the prayer, the description of how Jews are treated in Gilead emphasizes the danger of mandatory and regulated state religion. Offred's observation that the pictures of Jewish emigrants looked staged suggests that, really, those who refused to convert were rounded up, photographed, and secretly executed, a possibility that further highlights the danger of extremist theocratic regimes.

Chapters 3-4: What is ironic about the Commander's Wife's blue veil?

In European Christian art, the Virgin Mary is often depicted wearing a blue veil. It is apparent by the very presence of a Handmaid in the household that the Commander's Wife is infertile. Using a surrogate like the narrator in order to have a child of "her own" is an ironic twist on the central Christian doctrine of the virginity of Mary—at the time of her conception of Jesus.

Chapters 30-32: What is the historical significance of the yellow star that the narrator says would mark the body of an executed Jew? What major theme does her account of the treatment of Jews in Gilead advance?

In Nazi Germany, Jews were required to wear yellow stars of David on their clothing. As "Sons of Jacob," Jews were told that they could convert to the religion of Gilead or emigrate to Israel. Offred remarks, however, that the emigrating Jews depicted on the news looked "as if they were posing" in "costumes." Whether Jews were truly allowed to safely emigrate is, therefore, questionable. Any Jewish people who stay but speak out against the regime or do not genuinely convert are hanged. It is clear that, in many ways, the extremist regime of Gilead is not very different from Nazi Germany.

Chapters 7-8: 5. What is the narrative effect of the narrator's saying that she needs to believe the events are "a story [she's] telling"? What might Atwood's intent be in indulging in metafiction?

In her use of metafiction, Atwood is playing with the concept of fiction versus truth, reality versus perception, perception versus memory. If the events the narrator is reporting are true, then she has indeed lost all of her power. She has no control over either the events or her account of them. If they are a story, however, then the narrator is in control. The effect is that the reader becomes less certain of the truth or accuracy of anything the narrator tells us.

Chapters 7-8: 9. List the specific associations Atwood uses to transition the narrator's point of view from the present to the past and back to the present again. What has changed emotionally for the narrator during these transitions?

In the "present," the narrator notes that the weather is so nice "[i]t's almost like June." Then, Ofglen comments that it is a "beautiful May day." This literal statement (it is a beautiful day in May) leads the narrator to think about the distress signal, Mayday. This, in turn, reminds her that it was Luke who taught her about this distress signal. Here, she remembers the specific conversation in which she learns that Mayday comes from the French m'aidez, which means "Help me." This plea for help returns the narrator to the unhappy present in which she is looking at the bodies of recently executed traitors to an authoritarian, dictatorial regime. Her plea, "Help me," is ambiguous in that we do not know whether it is part of the remembered conversation or a plea in the present. The narrator's emotional state devolves from near-happiness to despair in this brief passage. When the chapter begins, she focuses on the fine weather, and the memory it inspires is a happy one—sundresses and ice-cream cones. After seeing the bodies of the newly executed, however, her companion's innocent comment about the weather dispels any happiness she may have been experiencing and reminds her of the crisis her current life is.

chapters 30-32: Contrast the manner in which Offred prayed at the Center with how she prays alone. What does her prayer reveal about the state of religion, spirituality, and faith in a theocracy?

In the Center, prayer was mandatory and scripted. It was in no way an expression of any of the Handmaids' personal faith, or lack thereof. Offred emphasizes how staged the ritual was, almost as if the women were posing for a Christmas card. By contrast, Offred's prayer is spontaneous and heartfelt. What it lacks in organization and style, it makes up for with passion. Some students might add that the content and tone of the prayer suggest that she might actually possess a small amount of faith in something. The contrast of the two prayers highlights that personal characteristics like spirituality cannot be mandated and regulated. In fact, attempts as mandating individual faith and religious practices can largely result in an obliteration of those very attributes.

Chapters 5-6: What is the primary narrative purpose of the episode in which the narrator and Ofglen are walking through the town?

In this episode, Atwood provides exposition about Gilead and the protagonist's background. She layers the past on the present, showing how society has changed even though much of the basic infrastructure remains the same. Not all of the comparisons are negative; for example, the narrator recalls the dangers women once faced. With this comparison, Atwood indicates that some of the social changes were beneficial, though Gilead's motivations and the social costs of such safety may outweigh the benefits.

Chapters 5-6:What does the protagonist's reaction to the Japanese tourists' appearances reveal?

Initially, she finds their clothes, makeup, and uncovered hair immodest, impractical, and overtly sexual; this reaction shows the degree to which she has internalized Gilead's propaganda. Then, the narrator remembers that she used to dress similarly and is surprised by how quickly her attitude toward what attire is appropriate has changed. She may have thought that she had resisted Gilead's teachings, but she has been brainwashed, at least partially, without realizing it.

Chapters 40-41: What might be foreshadowed by Nick's warnings that Offred behaves exactly the same and by her comments about betrayal?

Nick reminds her—and the reader—that she is taking great risks by trusting him and becoming almost infatuated with him. If her outward behavior changes, she might attract the attention of the Eyes. The approaching climax might be her betrayal and arrest.

Chapters 36-37: What impact might Moira's unexpected reappearance have on the novel's plot?

Moira's reappearance unites Offred's past and present plotlines. Even though the narrator had memories of Moira after the revolution, Moira was still a figure of the past, the early days of the republic while the two of them were still in the training center. The Moira of the past was always something of a foil for the narrator. Offred was more reserved, more traditional, but Moira was outspoken and rebellious. Even in her present-day monologue, Offred inserts commentary from Moira passing judgment on Offred's actions and decisions. The story of Moira's escape is a legend that Offred holds onto as a source of hope. As she becomes more friendly with Ofglen, approaches the time of her illicit episode with Nick, and draws closer to either resistance or betrayal, Moira's reappearance might very well be a catalyst to propel the plot to its next level. Some students might suggest that Moira's previous outspokenness and unwillingness to follow rules might draw unwanted attention to Offred and create trouble for her.

Chapter 42-43: How are Salvagings and Particicutions different? What societal purpose does each type of execution serve?

Salvagings are always segregated by gender, and the women's involvement in the execution is less direct. The hangings are designed to deter women from committing crimes and allow them to police themselves. Particicutions involve direct violence, so the Handmaids can take out their aggressions, thus expressing their rage about their positions and the injustices they suffer. This government-sanctioned violence gives Handmaids an opportunity to allow their suppressed hatred to be expressed through violence, which decreases the likelihood of an uprising.

Chapters 7-8: Who is Moira to the narrator? How does she function as a character?

She was the protagonist's close friend in college who was also chosen to be a Handmaid, though she was perhaps not as willing as the protagonist. Moira is rebellious and inclined to question and push against the status quo, so she serves as a foil to the more cautious protagonist, who is willing to comply with Gilead's policies in order to survive.

Chapters 1-2: How might the designation "Angel" be a play on words? How might it be ironic?

The "Angels" are literally the guards of the prison-type place. Calling guards angels might be intended to suggest stereotypical "guardian angels." Also, stereotypically, angels are associated with goodness or holiness. These angels are human and are, ironically, subject to bribery—usually in the form of sexual favors.

Chapter 15-17: The canopy of the bed reminds the narrator of the sail of a ship. She recalls that poets used to refer to them as "[b]ig-bellied sails." What other image is the narrator's description of the bed canopy most likely supposed to provoke in the reader?

The "big-bellied sales" are probably intended to make the reader think of the belly of a pregnant woman.

Chapters 1-2: When the narrator says, "It isn't running away they're afraid of," what are the "other escapes" to which she refers? What do the many steps taken to prevent these "escapes" suggest about the society? About the lives of women like the narrator in that society?

The "other escapes" are methods of committing suicide. The design of the window (unbreakable glass and too small to jump from), the removal of the chandelier (to prevent hanging), and no glass in the picture frame (to prevent women's slashing their wrists) suggest that a number of people have already killed themselves, or attempted to do so. If women like the narrator are desperate to the point of suicide, their lives are apparently horrible.

Chapters 36-37: In what ways is the Commander's talk of "preference" ironic?

The Commander seems to really believe that the women in the brothel have chosen their lives. He is completely oblivious of the fact that, although they may prefer this life to the alternatives—becoming either a Martha or a Handmaid in Gilead or cleaning up toxic waste in the Colonies—none of the possibilities holds much hope of happiness and fulfillment to women.

How does the naming of the baby illustrate the power dynamic between Wives and Handmaids?

The Commander's Wife names the baby Angela, and the girl will be raised as her daughter. Meanwhile, Janine, now called Ofwarren, is not allowed to name the child she has just given birth to. The Wives surround the baby and celebrate, while the Handmaids help Janine through the pain of the afterbirth. The Wives regard Handmaids only as vessels to bear their children.

Chapter 28-29: In what way does the narrator and the Commander's relationship change when he expresses that he wants Offred's life to "be bearable to [her]"?

The Commander's desire reveals his humanity and suggests guilt for the previous Handmaid's suicide. Offred uses "the possibility of [her] own death" to gain leverage over him. She asks the Commander to share information about what is happening in Gilead.

Chapter 28-29: What is significant about the narrator's description of the Commander's "daddyish" disposition and his pleasure at her "precocity"?

The Commander's desire reveals his humanity and suggests guilt for the previous Handmaid's suicide. Offred uses "the possibility of [her] own death" to gain leverage over him. She asks the Commander to share information about what is happening in Gilead.

Chapter 42-43: How might the Salvaging and the Particicution foreshadow the outcome of the novel?

The Salvaging depicts the executions of two Handmaids. Their specific crimes are not made public, so it is impossible not to think that Offred, who has now violated a number of Gilead laws and has acted recklessly, will face execution by the end of the novel. Similarly, the Particicution involves a Guardian accused of raping a Handmaid. Nick is in this exact position, a Guardian sexually involved with a Handmaid. Should they be caught, the charge against him will almost certainly be rape, and he will face the same execution. Some students might also point out that a Wife is also hanged at the Salvaging. Even though there are supposedly only three reasons for a Wife to be executed, it is still possible that if Serena Joy's role in encouraging and enabling Offred and Nick's relationship were ever discovered, she, too, could face a death sentence. Clearly, the incidents depicted in these chapters might foreshadow how the novel will end for Offred, Nick, and even Serena Joy.

Chapters 11-12: What is the effect of the shift from active to passive voice in the second sentence, "Yesterday morning I went to the doctor. Was taken, by a Guardian..."?

The active voice of the first sentence makes the visit to the doctor sound like an ordinary, voluntary event. The switch to passive voice illustrates, more accurately than the previous statement, that the protagonist lacks personal choice; she does not choose to go to the doctor, but is taken there.

Chapter 38-39: How is Offred's desire to recreate Moira's voice as "a way of keeping her alive" ambiguous? What effect does Atwood reinforce with this ambiguity?

The ambiguity lies in that the reader cannot be certain whether Moira is alive. Offred herself might not be certain. This uncertainty emphasizes the overall quality of Offred's entire account. It is memory, reflection, "reconstruction." There are details she admits she does not remember, that she admits are too painful to recall, and that she simply does not want to talk about. Throughout the entire novel, Atwood has made it clear that the reader cannot accept this narrator's account as absolute, objective fact.

Chapters 5-6: Who are the somber ancestors depicted in the painting in the church? What can the reader infer about the setting? What clues does the author provide to support this inference?

The ancestors are Puritans, who were essentially Calvinists—strict Christian fundamentalists, much like those who founded Gilead. Early in Chapter 5, the narrator mentions "the university is closed." This comment, along with the descriptions of "the old dormitories," boathouse on the river, and football stadium, reveals that the center of Gilead is in a former university town. The Puritans settled in Massachusetts; Harvard is the most prominent Massachusetts university, and it is located by a river, so the setting is likely Cambridge, Massachusetts.

Section 5-6: Who are the somber ancestors depicted in the painting in the church? What can the reader infer about the setting? What clues does the author provide to support this inference?

The ancestors are Puritans, who were essentially Calvinists—strict Christian fundamentalists, much like those who founded Gilead. Early in Chapter 5, the narrator mentions "the university is closed." This comment, along with the descriptions of "the old dormitories," boathouse on the river, and football stadium, reveals that the center of Gilead is in a former university town. The Puritans settled in Massachusetts; Harvard is the most prominent Massachusetts university, and it is located by a river, so the setting is likely Cambridge, Massachusetts.

Chapters 1-2: What does the first brief chapter suggest about the physical and social setting of the novel? What clues does the narrator provide to suggest this setting?

The chapter is set in a building that was once a high school, but now has been converted into some sort of prison, patrolled by women armed with cattle prods and guarded by men with guns. The narrator describes "army-issue blankets...that still said U.S." The word "still" suggests that there is no longer a country called the United States. The fact that the blankets still exist and are usable implies that not much time has passed since the U.S. has ceased to exist. Therefore, the setting is somewhere in what was once the United States in the not-too- distant future.

Chapters 30-32: What climactic event is revealed in Chapter 30? In what way(s) can this event be considered climactic?

The climax of the escape flashback occurs when Offred reveals that someone must have betrayed them and their suspected plan to escape "[b]ecause they were ready for us, and waiting." This event is climactic because, even though the reader already knows the outcome of this plotline, this revelation is the point at which the action tips from the rising action of preparing to escape to the falling action that resulted in the narrator's present situation.

Chapter 38-39: What is the significance of the club's being called Jezebel's? How might Atwood be making a subtle joke with this name?

The club is a brothel. "Jezebel's" is an allusion to the Old Testament queen Jezebel, who is traditionally associated with idolatry and prostitution and is blamed for Israel's abandonment of God. According to the books of 1 and 2 Kings, Jezebel was a Phoenician princess who married Ahab, the king of Israel. She convinced her husband to abandon the God of Israel and establish the worship of her nation's god. Ahab died in battle, and Jezebel was thrown from her window. Wild animals ate her body because a proper burial was not allowed. At the time of her death, she was elaborately dressed, made up, and sitting at her open window as a show of regal power. Jezebel's appearance at the time of her death and her support of a foreign god are the most likely causes for her to be considered a prostitute. The name Jezebel is frequently used to refer to a prostitute or a woman of low moral character. The possible joke springs from the fact that, aside from the makeup she was wearing on the day she was killed, there is no literal, scriptural association of Jezebel with prostitution. The association with the brothel and its workers with this biblical figure illustrates another Gileadean misinterpretation of the Bible. The reference also allows Atwood to call attention to a strong woman vilified and demonized by the religious establishment of her day.

Chapters 36-37: What does Atwood mean when she has the narrator reflect, "A movie about the past is not the same as the past"?

The creators of the brothel may have recreated the appearance of the past, but the actual past offered real freedom and real choices for the women who now appear happy, but "[y]ou can't tell by looking." For Offred, even the appearance of the past is inaccurate and incoherent. The women's attire is theatrical, like cabaret outfits. There is an odd mix of styles and time periods. The overall effect might remind one of the past, but it is not what the past was really like

(CHAPTER NINE AND TEN) 3. What is the significance of the words scratched into the floor of the cupboard? Toward the beginning of the chapter, the narrator mentions that she found the words "three days" after she was moved into this house. Later, she says again that she found the words on "the third day." What might be the significance of the timing of the narrator's discovery?

The discovery of the words in the cupboard gives the narrator a sense of not being completely alone. She begins to reveal her discovery to the reader by claiming, "Someone has lived in this room, before me." She establishes their relationship by adding, "Someone like me, or I prefer to believe so." Later she tells us, "It pleases me to ponder this message. It pleases me to think I'm communing with her...." The period of three days is extremely significant in the Christian tradition. Depending on the specific account, the Resurrection of Jesus occurred either three days after the Crucifixion or "on the third day." The imposition of the laws of Gilead essentially ended the narrator's former life with her husband and child. The sense of companionship she derives from the discovered message is a kind of rebirth—which begins three days after entering her first placement as a Handmaid.

Chapters: 40-41: What does the approaching thunderstorm contribute to the mood of the scene as Offred sneaks out to meet Nick?

The distant storm creates an ominous tone, a sense of danger that parallels the risk Offred is taking. The lone woman creeping through a darkened hallway on her way to a secret and illicit liaison with "the chauffeur" while lightning flashes and thunder rumbles in the distance are such common conventions of the romance novel that they have become clichés.

Chapters 5-6: What does the narrator's remark "The tulips are not tulips of blood, the red smiles are not flowers, neither thing makes a comment on the other" indicate about her frame of mind?

The explicit denial of a connection between the tulips and the blood implies that the protagonist does, initially, associate the blood red tulips—which, on some level, represent the Handmaids—with the hanged men. She knows, however, that making such indirect associations will cloud her judgement and decrease her chances of surviving, so she denies the connection in order to maintain mental clarity.

Sections 5-6: What does the narrator's remark "The tulips are not tulips of blood, the red smiles are not flowers, neither thing makes a comment on the other" indicate about her frame of mind?

The explicit denial of a connection between the tulips and the blood implies that the protagonist does, initially, associate the blood red tulips—which, on some level, represent the Handmaids—with the hanged men. She knows, however, that making such indirect associations will cloud her judgement and decrease her chances of surviving, so she denies the connection in order to maintain mental clarity.

Chapters 7-8: 11. What is ironic about Serena Joy's life in the time before the founding of Gilead? How does her background support one of the primary themes of the novel?

The fact that Serena Joy's public persona and appearances helped lay the groundwork for the Gilead revolution and also helped convince enough citizens to accept the new Gilead regime has ultimately harmed her more than hurt her. She is unhappy and unfulfilled and cannot even perform the public work she once did. The values she espoused have "won," but she herself is a victim of the imposition of those values. One would expect that a public figure like Serena Joy would become a key figure in a regime like Gilead. The fact that she, too, has been relegated to the home and has lost all of her fame emphasizes the subjugation of women and the denial of rights in an authoritarian theocracy like Gilead.

At the end of Chapter 21, Offred thinks about her mother, "Wherever you may be. Can you hear me? You wanted a women's culture. Well, now there is one. It isn't what you meant, but it exists." How is this "women's culture" not exactly what the feminists would have wanted? What flaws do you observe in the interaction between women on this Birth Day?

The feminists of the seventies and eighties were interested in a women's culture based on the belief that because women possessed superior values, they could build a superior society. The women's culture that is demonstrated as part of the Gilead regime is definitely not indicative of a superior society. One of its chief flaws, shown very clearly on Birth Day, is the division between the various strata of women, particularly the Wives and Handmaids. They arrive in separate vehicles, do not speak to one another, celebrate in different arenas, and leave separately.

Chapter 15-17: What is the most likely origin of the physical postures of the three people involved in the Ceremony? What does the way the founders of Gilead interpreted this origin in the creation of the Ceremony suggest about ideological regimes like Gilead?

The narrator describes the Ceremony as the Wife's lying on her back on the bed, her legs spread. The Handmaid lies on her back between the Wife's legs, her head resting on the Wife's pelvis. They are holding hands to signify that they have become "one flesh, one being." Her legs are also spread. They remain in this position while the Commander performs his role. These awkward positions are most likely an ultra-literal interpretation of Rachel's instructions to her husband in Genesis: "[Bilhah] shall bear upon my knees, that I may also have children by her." The narrator is literally bearing upon the Wife's knees. The awkward result of the founders' literal interpretation of the scripture illustrates one of the consequences of an extremist, literal ideology. Even a well-intentioned practice, ostensibly designed to honor the society's God and to benefit humankind, results in something ridiculous and uncomfortable. What was probably supposed to be beautiful and spiritual has become ludicrous.

Chapter 28-29: What is ironic about the meaning and origin of the phrase "Nolite te bastardes carborundorum"? How might the narrator's discovery of the meaning and origin prove to be a significant event in her story arc?

The narrator is extremely disappointed to learn that the phrase from which she drew strength and hope, the phrase that she believed was a form of communication between her and another person, didn't really mean anything, was originally created as an immature schoolboys' joke, and originated with a member of the enemy, not from a kindred spirit. It is also ironic, however, that a nonsense slogan the Commander and his school friends made up when they were boys has the potential to become the rallying cry of the resistance. The other irony is that most Handmaids have, indeed, allowed the society and its powerful men to diminish them. There are a number of ways this discovery might affect Offred's story arc. Since she had drawn so much strength and resolve from the slogan, she might lose hope now—especially since she now knows that the woman who scratched the words into the wood killed herself. On the other hand, learning the fate of the previous Handmaid might intensify Offred's resolve. When and why did the previous Handmaid scratch those words in the cupboard? Perhaps it was a statement of resistance, an appeal to future Handmaids not to be driven to desperation the way the writer was. A third possibility is that the new rapport developing between Offred and the Commander might be a key step in the success or failure of the narrator's involvement in the resistance. This event might eventually lead to the narrator's discovery and destruction, or her request for information might provide crucial help to the resistance.

Chapters 1-2: What do details like the narrator's refusal to call the bedroom hers and reference to the umbrella as "the one assigned" to her suggest about her position in the house?

The narrator is not "home." Her position is probably not permanent. She may actually not have any personal property.

(CHAPTER NINE AND TEN) 2. What is the significance of the narrator's reflection "I'm waiting, in my room, which right now is a waiting room. When I go to bed it's a bedroom"? What broader societal attitude does this reflection most likely emphasize?

The reflection suggests that the room does not have an identity of its own; it is identified by its function. The room is like the people, especially the women. They no longer have their own identities but are identified solely by their function.

Chapters 11-12: Whose appeal does the narrator echo when she thinks, "Give me children, or else I die"? What are the "more than one meaning" the narrator finds in the plea?

The narrator's unspoken entreaty echoes Rachel from the Genesis account of Jacob, Leah, and Rachel, which is the first of the novel's three epigraphs. It is this appeal that resulted in Jacob's sleeping with Bilhah in order for the Handmaid to bear children for Rachel. This episode in the Old Testament is the ostensible model for Gilead's system. The two most likely meanings of the plea are: • the common hyperbole used to express strong desire ("I'll die if I can't...") • a literal acknowledgment of the precarious position of women—especially Handmaids—in Gilead; if they don't serve their function, they will probably be sent away, either to die or suffer other horrible consequences.

Chapter 30-32: What is the significance of the ice cube that Rita gives to Offred? Why does Atwood combine the request for the match and the offer of the ice cube in the same episode?

The offer of the ice cube is an ambiguous gesture. On the surface, it seems like an act of kindness or generosity, but immediately following Offred's demand for a match, it could be interpreted as Rita's attempt to regain her superior status over Offred in the household. She clearly does not want to give Offred the match, demands to know the reason she wants it, but is clearly hesitant to ask the Wife about it and possibly provoke her anger. Serena's promise to Offred has threatened her supremacy in the kitchen. However, whether to offer Offred an ice cube is something still within her domain. Ironically, this supremacy can be illustrated better by offering the treat than by not mentioning it at all. Still, students may also point to the brief friendliness between Rita and Offred as evidence that the offer of the ice was indeed a simple, friendly gesture.

Chapter 38-39: What do Offred's mother's disordered apartment and Luke's advising not to call the police suggest?

The overturned drawers and cut open mattress are signs that the authorities have searched the apartment, likely looking for subversive materials. The narrator's mother has probably been arrested. Luke, recognizing this likelihood, realizes it would be futile to call the police.

Chapters 3-4: At the checkpoint, the protagonist obligingly shows the Guardian a glimpse of her face and sways her hips from side to side as she leaves. What do the narrator's actions at the checkpoint suggest?

The protagonist still possesses power, as oppressed as she is, because she can affect men's emotions and bodily reactions with these small displays of sexuality. She also defies the theocracy's efforts to suppress sexual behaviors, but is careful enough so her actions are too subtle and inconsequential to warrant punishment.

Chapters 5-6: What details does Atwood provide in these chapters to establish the social, cultural, and political background to the story? What overall effect does she achieve through these details?

The public executions and display of bodies show that the Republic of Gilead enforces strict punishments and uses violence to intimidate the people and keep them in line. The guarded prison behind the Wall is further evidence that Gilead is a totalitarian regime in which suspected traitors are imprisoned, interrogated, and tortured. The recently executed men used to perform abortions, as is evidenced by their white lab coats and the images of fetuses around their necks. Their execution indicates that Gilead is a radical fundamental regime that places a high value on carrying all pregnancies to term. Atwood also provides details about how widespread the ongoing war is when the narrator thinks about how difficult it is for Gilead to import oranges. Gilead has difficulty securing supply lines, so food is rationed. "Central America was lost to the Libertheos," so Gilead has tried to expand its territory beyond the former United States, but has been, at least partially, unsuccessful. The name Libertheos contains roots derived from "liberty" and "theocracy," so it is likely fighting to maintain a secular government. By revealing Gilead's social and political background gradually with these details, Atwood creates suspense. She further emphasizes that the first-person narrator's knowledge is limited, based mainly on what snippets of information she can glean from her outings.

Sections 5-6: What details does Atwood provide in these chapters to establish the social, cultural, and political background to the story? What overall effect does she achieve through these details?

The public executions and display of bodies show that the Republic of Gilead enforces strict punishments and uses violence to intimidate the people and keep them in line. The guarded prison behind the Wall is further evidence that Gilead is a totalitarian regime in which suspected traitors are imprisoned, interrogated, and tortured. The recently executed men used to perform abortions, as is evidenced by their white lab coats and the images of fetuses around their necks. Their execution indicates that Gilead is a radical fundamental regime that places a high value on carrying all pregnancies to term.Atwood also provides details about how widespread the ongoing war is when the narrator thinks about how difficult it is for Gilead to import oranges. Gilead has difficulty securing supply lines, so food is rationed. "Central America was lost to the Libertheos," so Gilead has tried to expand its territory beyond the former United States, but has been, at least partially, unsuccessful. The name Libertheos contains roots derived from "liberty" and "theocracy," so it is likely fighting to maintain a secular government. By revealing Gilead's social and political background gradually with these details, Atwood creates suspense. She further emphasizes that the first-person narrator's knowledge is limited, based mainly on what snippets of information she can glean from her outings.

Chapter 38-39: Structurally, why is it important that the episode at Jezebel's take place the night before the Ceremony and the same night that Serena Joy wants Offred "serviced"?

The reader has already witnessed the lack of passion and intimacy of the Ceremony. Now, Atwood is going to juxtapose two other sexual scenarios, a pseudo-romantic "date" with the Commander, a man to whom the narrator is not at all attracted, and a purely utilitarian meeting with Nick, a man for whom she has experienced desire. It is also important to keep the times relatively close so that, if Offred does become pregnant by Nick, the timing is close enough to a Ceremony for the Commander to believe the child is his.

Chapters 1-2: What ideas does Atwood seem to raise in these three epigraphs taken together? What expectations do they set for the reader?

The reference to Rachel and Bilhah provides a clue to both the title of the novel and the nature of the practice suggested by the proverb. The quotation from A Modest Proposal suggests that this practice—whatever it might be—was seen as a last resort. The Sufi comment's dualistic nature implies that the novel's plot will involve people engaged in practices that are harmful, but they have no other choice.

Chapters 3-4: What do the guarded barriers, the shooting of the Martha, and the news about Baptist rebels indicate about the social and political background to the story?

The relatively new regime is at war, fighting to expand or maintain its power. The sides are divided by religious affiliation; while the religion of the theocratic regime is not specified, Baptists oppose their sect. The government has established checkpoints and monitors people's movements with pass checks, ensuring that people do not enter different sectors of the city unless they have permission to do so. The shooting of the Martha illustrates the civil tension and guards' fear of bombings and other acts of rebellion.

Chapters 1-2: Consider the novel's three epigraphs. And when Rachel saw that she bare Jacob no children, Rachel envied her sister; and said unto Jacob, Give me children, or else I die. And Jacob's anger was kindled against Rachel; and he said, Am I in God's stead, who hath withheld from thee the fruit of the womb? And she said, Behold my maid Bilhah, go in unto her; and she shall bear upon my knees, that I may also have children by her. — Genesis 30: 1-3 But as to myself, having been wearied out for many years with offering vain, idle, visionary thoughts, and at length utterly despairing of success, I fortunately fell upon this proposal... — Jonathan Swift, A Modest Proposal In the desert there is no sign that says, Thou shalt not eat stones. — Sufi proverb What idea or issue does Atwood's reference to the story of Jacob and Rachel from Genesis raise? What admission is the narrator of A Modest Proposal making? What "truth" does the Sufi proverb convey?

The story from Genesis describes how, because she was barren, Rachel offered her own maid for her husband, Jacob, to impregnate in her stead. The narrator of Swift's A Modest Proposal emphasizes that he created the proposal out of desperation, having been "utterly despairing of success" for years. The Sufi proverb has no definitive meaning, although it seems to indicate that there are no rules against actions that people with common sense should know to avoid. It also has the implication that in highly dangerous situations, it is necessary to take serious risks.

Chapter 18-19 What narrative purpose does Atwood achieve by having her narrator "believe" three essentially contradictory scenarios about Luke? What does the fact that the narrator "believes" all of them contribute to the reader's understanding of her character?

The three scenarios provide Atwood the opportunity to explore the fates of men in the society, especially those not in a position to become Commanders, Guardians, etc., and those who resisted the Gilead regime. It is already established that Gilead requires fertile women, and we already know the role that has been assigned to them. But we do not know what happened to the men whose wives, girlfriends, etc., became the Handmaids, the Marthas, etc. The three scenarios Atwood has her narrator consider reveal that these men were either killed or imprisoned and tortured. Some few may have escaped. The fact that Offred considers what happened to Luke and that she realizes Luke's fate was probably as bad as—if not worse than—hers reveals that she does love him. She is not so wrapped up in her own suffering that she forgets that others are suffering as well.

Chapter 30-32: What does the fact that the Commander justifies Gilead's actions with the cliché "You can't make an omelet without breaking eggs" suggest about his character?

The triteness of the cliché illustrates the Commander's flippant attitude toward women's suffering under the regime. He is willing to write off women's oppression as almost trivial because he and many other men benefit from the new society of Gilead.

Chapters 1-2: What can the reader infer about the Commander's Wife based on the description of her pacing "a heavy step and then a light one, and the soft tap of her cane"?

The uneven footsteps and tap of the cane indicate that the Commander's wife walks with a limp, so she is either elderly or has suffered an injury. The fact that she paces, despite her limp, suggests that she is troubled or anxious.

How does Atwood evoke a sense of community in the scene in which Janine gives birth? Give specific examples of the language Atwood uses to create this feeling.

The women are "envelop[ed]" as in a "membrane" as they chant. As they await the coming birth, Offred says, "We grip each other's hands, we are no longer single." As Aunt Elizabeth inspects the baby, the Handmaids look at each other and smile, Offred remarking, "[W]e are one smile...." The women are united by the common goal of birthing life, even if they must immediately relinquish the child to another woman.

Chapters 40-41: Describe the power balance in Offred and Nick's relationship. In what ways are they equal or unequal?

Their relationship is equal in terms of consent. Offred initiates their encounters by going to Nick's room, and her question "Is it too late?" gives him a chance to say no if he is uninterested. The risks Offred takes and her sharing of secrets while Nick rarely speaks, however, create an imbalance. Nick has the potential to turn Offred in to the authorities for her involvement with the network that resists the Republic of Gilead.

Chapters 7-8: How are the flashbacks in which women are burning pornographic magazines and the language Atwood uses to narrate them ironic?

There are several ironies in this episode: • First, the episode takes place before the revolution when citizens enjoyed legally-protected personal freedoms, but it is essentially censorship that is taking place. • The narrator remembers that she was upset with her mother for lying to her and taking her to a rally when Saturday was supposed to be their day together, and this event is juxtaposed in the narrator's mind with the memory of discovering that her daughter has been taken away because she, the narrator, was "unfit." • The imagery of the leaping flames, the soot-stained faces contorted with ecstasy, is horrific, but the narrator remembers the scene as cheerful, "like a Christmas card." • The ostensible reason for the demonstration is to destroy items that represent the objectification of women, but the language Atwood uses to describe the burning magazines intensifies this objectification. • The act of burning objectionable objects, and the protest that it is fine for her mother to destroy the magazine but not see it, seems more like an act in Gilead in which women are "protected" from such vulgarity.