The Handmaid's Tale

The Handmaid's Tale (1985) is a dystopian novel, a work of speculative fiction, by Canadian author Margaret Atwood. Set in the near future, in a totalitarian Christian theocracy which has overthrown the United States government, The Handmaid's Tale explores themes of women in subjugation and the various means by which they gain agency. The novel's title was inspired by Geoffrey Chaucer's The Canterbury Tales, which is a series of connected stories ("The Merchant's Tale", "The Parson's Tale", etc.)

The Handmaid's Tale won the 1985 Governor General's Award and the first Arthur C. Clarke Award in 1987; it was also nominated for the 1986 Nebula Award, the 1986 Booker Prize, and the 1987 Prometheus Award. It has been adapted for the cinema, radio, opera, and stage.

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The Handmaid's Tale tells the story of Offred – not her real name, but the patronymic she has been given by the new regime in an oppressive parallel America of the future – and her role as a Handmaid. The Handmaids are forced to provide children by proxy for infertile women of a higher social status, the wives of Commanders. They undergo regular medical tests, and in many ways become invisible, the sum total of their biological parts.

Offred remembers her life before the inception of Gilead, when she had a husband, a daughter and a life. She had been a witness to the dissolution of the old America into the totalitarian theocracy that it now is, and she tries to reconcile the warning signs with reality: "We lived in the gaps between the stories."

Offred's tender remembrances of times past provide relief from the brutality of her new life, in which her body has become a cause of discomfort for her. Her former life is presented through glimpses of her university friends, her husband, her freedom. They are shadowy memories made all the more indistinct by Atwood's lyrical prose, in which facts appear to merge into one another, and history appears immaterial; Offred is kept alive by her inner life, and reality and history become a kind of symbiotic mirage.

Fiercely political and bleak, yet witty and wise, the novel won the inaugural Arthur C Clarke award in 1987, but Atwood has always maintained that the novel is not classifiable science fiction. Nothing practised in the Republic of Gilead is genuinely futuristic. She is right, and this novel seems ever more vital in the present day, where women in many parts of the world live similar lives, dictated by biological determinism and misogyny.

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Surely the essential element of a cautionary tale is recognition. Surprised recognition, even, enough to administer a shock. We are warned, by seeing our present selves in a distorting mirror, of what we may be turning into if current trends are allowed to continue. That was the effect of ''Nineteen Eighty-Four,'' with its scary dating, not 40 years ahead, maybe also of ''Brave New World'' and, to some extent, of ''A Clockwork Orange.''

It is an effect, for me, almost strikingly missing from Margaret Atwood's very readable book ''The Handmaid's Tale,'' offered by the publisher as a ''forecast'' of what we may have in store for us in the quite near future. A standoff will have been achieved vis-a-vis the Russians, and our own country will be ruled by right-wingers and religious fundamentalists, with males restored to the traditional role of warriors and us females to our ''place'' - which, however, will have undergone subdivision into separate sectors, of wives, breeders, servants and so forth, each clothed in the appropriate uniform. A fresh postfeminist approach to future shock, you might say. Yet the book just does not tell me what there is in our present mores that I ought to watch out for unless I want the United States of America to become a slave state something like the Republic of Gilead whose outlines are here sketched out.

Another reader, less peculiar than myself, might confess to a touch of apathy regarding credit cards (instruments of social control), but I have always been firmly against them and will go to almost any length to avoid using one. Yet I can admit to a general failure to extrapolate sufficiently from the 1986 scene. Still, even when I try, in the light of these palely lurid pages, to take the Moral Majority seriously, no shiver of recognition ensues. I just can't see the intolerance of the far right, presently directed not only at abortion clinics and homosexuals but also at high school libraries and small-town schoolteachers, as leading to a super-biblical puritanism by which procreation will be insisted on and reading of any kind banned. Nor, on the other hand, do I fear our ''excesses'' of tolerance as pointing in the same direction. Liberality toward pornography in the courts, the media, on the newstands may make an anxious parent feel disgusted with liberalism, but can it really move a nation to install a theocracy strictly based on the Book of Genesis? Where are the signs of it? A backlash is only a backlash, that is, a reaction. Fear of a backlash, in politics, ought not to deter anybody from adhering to principle; that would be only another form of cowardice.

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