By Harold Bloom, Margaret Atwood
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Additional resources for Margaret Atwood's the Handmaid's Tale
The drapes are the same, the heavy ﬂowered ones that match the bedspread, orange poppies on royal blue, and the thin white ones to draw against the sun. . All is the same. The setting is the same, because the interaction is the same: unmarried woman with married man. Although the narrator protests against Moira’s disapproval of her affair with Luke, she is not immune to the force of Moira’s arguments. The narrator tells us, for example, about a dream in which she stands in the apartment she shares with Luke.
Offred does not want to believe that the phrase that means so much to her might be a joke (presumably the previous “Offred,” the handmaid who occupied the room before our Offred, carved out the phrase for those who were to come later); and she gratefully accepts a dog-eared textbook that the Commander pulls down from the shelf: What I see ﬁrst is a picture: The Venus de Milo, in a black-andwhite photo, with a mustache and a black brassiere and armpit hair drawn clumsily on her. . ‘It’s sort of hard to explain why it’s funny unless you know Latin,’ he says.
A lot of what writers do is they play with hypotheses . . ,” comments Atwood in a discussion of The Handmaid’s Tale. “It’s a kind of ‘if this, then that’ type of thing. ’ If a woman’s place is in the home, then what? ” In The Handmaid’s Tale, which reﬂects on the antifeminist messages From Brutal Choreographies: Oppositional Strategies and Narrative Design in the Novels of Margaret Atwood. © 1993 by The University of Massachusetts Press. 41 42 J. BROOKS BOUSON given to women by the fundamentalist New Right in the 1980s, Atwood delineates in chilling detail just what might follow: the virtual enslavement of women, their reduction to mere functions, to mute, replaceable objects.