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The Handmaid's Tale Paperback – March 16, 1998
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Look for The Testaments, the bestselling, award-winning the sequel to The Handmaid’s Tale
In Margaret Atwood’s dystopian future, environmental disasters and declining birthrates have led to a Second American Civil War. The result is the rise of the Republic of Gilead, a totalitarian regime that enforces rigid social roles and enslaves the few remaining fertile women. Offred is one of these, a Handmaid bound to produce children for one of Gilead’s commanders. Deprived of her husband, her child, her freedom, and even her own name, Offred clings to her memories and her will to survive. At once a scathing satire, an ominous warning, and a tour de force of narrative suspense, The Handmaid’s Tale is a modern classic.
Includes an introduction by Margaret Atwood
- Print length311 pages
- LanguageEnglish
- PublisherVintage
- Publication dateMarch 16, 1998
- Reading age14 - 18 years
- Dimensions5.16 x 0.69 x 7.96 inches
- ISBN-10038549081X
- ISBN-13978-0385490818
- Lexile measure750L
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Editorial Reviews
Review
"The Handmaid's Tale deserves the highest praise." —San Francisco Chronicle
"Atwood takes many trends which exist today and stretches them to their logical and chilling conclusions . . . An excellent novel about the directions our lives are taking . . . Read it while it's still allowed." —Houston Chronicle
"Splendid." —Newsweek
From the Inside Flap
Offred is a Handmaid in the Republic of Gilead. She may leave the home of the Commander and his wife once a day to walk to food markets whose signs are now pictures instead of words because women are no longer allowed to read. She must lie on her back once a month and pray that the Commander makes her pregnant, because in an age of declining births, Offred and the other Handmaids are only valued if their ovaries are viable.
Offred can remember the days before, when she lived and made love with her husband Luke; when she played with and protected her daughter; when she had a job, money of her own, and access to knowledge. But all of that is gone now....
Funny, unexpected, horrifying, and altogether convincing, The Handmaid's Tale is at once scathing satire, dire warning, and tour de force.
From the Back Cover
Offred is a Handmaid in the Republic of Gilead. She may leave the home of the Commander and his wife once a day to walk to food markets whose signs are now pictures instead of words because women are no longer allowed to read. She must lie on her back once a month and pray that the Commander makes her pregnant, because in an age of declining births, Offred and the other Handmaids are only valued if their ovaries are viable.
Offred can remember the days before, when she lived and made love with her husband Luke; when she played with and protected her daughter; when she had a job, money of her own, and access to knowledge. But all of that is gone now....
Funny, unexpected, horrifying, and altogether convincing, "The Handmaid's Tale is at once scathing satire, dire warning, and tour de force.
About the Author
Atwood has won numerous awards including the Arthur C. Clarke Award for Imagination in Service to Society, the Franz Kafka Prize, the Peace Prize of the German Book Trade, the PEN USA Lifetime Achievement Award and the Dayton Literary Peace Prize. In 2019 she was made a member of the Order of the Companions of Honour for services to literature. She has also worked as a cartoonist, illustrator, librettist, playwright and puppeteer. She lives in Toronto, Canada.
Excerpt. © Reprinted by permission. All rights reserved.
In the spring of 1984 I began to write a novel that was not initially called The Handmaid’s Tale. I wrote in long hand, mostly on yellow legal notepads, then transcribed my almost illegible scrawlings using a huge German-keyboard manual typewriter that I’d rented.
The keyboard was German because I was living in West Berlin, which was still encircled by the Berlin Wall: the Soviet empire was still strongly in place and was not to crumble for another five years. Every Sunday the East German air force made sonic booms to remind us of how close they were. During my visits to several countries behind the Iron Curtain—Czechoslovakia, East Germany—I experienced the wariness, the feeling of being spied on, the silences, the changes of subject, the oblique ways in which people might convey information, and these had an influence on what I was writing. So did the repurposed buildings. This used to belong to . . . But then they disappeared. I heard such stories many times.
Having been born in 1939 and come to consciousness during World War II, I knew that established orders could vanish overnight. Change could also be as fast as lightning. It can’t happen here could not be depended on: anything could happen anywhere, given the circumstances.
By 1984, I’d been avoiding my novel for a year or two. It seemed to me a risky venture. I’d read extensively in science fiction, speculative fiction, utopias and dystopias ever since my high school years in the 1950s, but I’d never written such a book. Was I up to it? The form was strewn with pitfalls, among them a tendency to sermonize, a veering into allegory, and a lack of plausibility. If I was to create an imaginary garden, I wanted the toads in it to be real. One of my rules was that I would not put any events into the book that had not already happened in what James Joyce called the “nightmare” of history, nor any technology not already available. No imaginary gizmos, no imaginary laws, no imaginary atrocities. God is in the details, they say. So is the devil.
Back in 1984, the main premise seemed—even to me—fairly outrageous. Would I be able to persuade readers that the United States of America had suffered a coup that had transformed an erstwhile liberal democracy into a literal-minded theocratic dictatorship? In the book, the Constitution and Congress are no longer: the Republic of Gilead is built on a foundation of the seventeenth-century Puritan roots that have always lain beneath the modern-day America we thought we knew.
The immediate location of the book is Cambridge, Massachusetts, home of Harvard University, now a leading liberal educational institution but once a Puritan theological seminary. The Secret Service of Gilead is located in the Widener Library, where I had spent many hours in the stacks, researching my New England ancestors as well as the Salem witchcraft trials. Would some people be affronted by the use of the Harvard wall as a display area for the bodies of the executed? (They were.)
In the novel, the population is shrinking due to a toxic environment, and the ability to have viable babies is at a premium. (In today’s real world, studies in China are now showing a sharp fertility decline in Chinese men.) Under totalitarianisms—or indeed in any sharply hierarchical society—the ruling class monopolizes valuable things, so the elite of the regime arrange to have fertile females assigned to them as Handmaids. The biblical precedent is the story of Jacob and his two wives, Rachel and Leah, and their two handmaids. One man, four women, twelve sons—but the handmaids could not claim the sons. They belonged to the respective wives.
And so the tale unfolds.
Product details
- Publisher : Vintage; 1st Anchor Books edition (March 16, 1998)
- Language : English
- Paperback : 311 pages
- ISBN-10 : 038549081X
- ISBN-13 : 978-0385490818
- Reading age : 14 - 18 years
- Lexile measure : 750L
- Item Weight : 8.4 ounces
- Dimensions : 5.16 x 0.69 x 7.96 inches
- Best Sellers Rank: #1,971 in Books (See Top 100 in Books)
- #6 in Political Fiction (Books)
- #47 in Dystopian Fiction (Books)
- #287 in Literary Fiction (Books)
- Customer Reviews:
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About the author
Margaret Atwood is the author of more than fifty books of fiction, poetry and critical essays. Her novels include Cat's Eye, The Robber Bride, Alias Grace, The Blind Assassin and the MaddAddam trilogy. Her 1985 classic, The Handmaid's Tale, went back into the bestseller charts with the election of Donald Trump, when the Handmaids became a symbol of resistance against the disempowerment of women, and with the 2017 release of the award-winning Channel 4 TV series. ‘Her sequel, The Testaments, was published in 2019. It was an instant international bestseller and won the Booker Prize.’
Atwood has won numerous awards including the Booker Prize, the Arthur C. Clarke Award for Imagination in Service to Society, the Franz Kafka Prize, the Peace Prize of the German Book Trade and the PEN USA Lifetime Achievement Award. In 2019 she was made a member of the Order of the Companions of Honour for services to literature. She has also worked as a cartoonist, illustrator, librettist, playwright and puppeteer. She lives in Toronto, Canada.
Photo credit: Liam Sharp
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Don't worry, it won't be. However, it does have some elements that could be argued as being a caricature of modern day happenings. There are plenty of reviews out there that give a run down of the plot and how they feel it's all happening right now. No doubt many of these reviews are from women, and justifiably so since this book "speaks to them". So I'm going to discuss the subtext of the novel, and hopefully, I can get a few guys to read this book because there is stuff in it for them.
The background story is that The United States has been taken over by religious fundamentalists. The religion is never mentioned by name, but it is clearly Christian/Jewish/Islamic. When it comes to their respective flavors of fundamentalism, they all bear a striking resemblance to one another whether they want to admit it or not. This is not surprising, since they all worship the same god and use overlapping religious texts. If you're curious about the tale of how this happened, this is not the book for you. After all, this is the Handmaid's Tale. All you get is the story of one woman starting probably about 10 years after an event called "The President's Day Massacre", i.e. the coup where the fundamentalists took over.
Personally, I do not think such a regime could take over in such a simple manner, but what followed after the coup is more plausible. As I said, we don't get much of this story directly, but we hear snippets of how, slowly, over the course of weeks and months, oppressive policies are implemented and they are always implemented for the same reasons that such policies are implemented today. Namely, the safety of the public, the betterment of society, etc. At the same time, women are slowly and unequally stripped of their rights.
If you think that women could never be usurped of their identities in this way, and no one would stand for it, blah, blah, blah. You are wrong. All it takes is the right social pressure. Imagine a scenario where the number of women capable of bearing children is cut to a small percentage. They then become a "national resource". (My words, not the author's.) When it comes to resources, there will always be people (usually men, and this is coming from a man) in power who will want to exploit and seize control of such resources. This is how such things can happen. And this is the scenario used by Atwood in The Handmaid's Tale.
When I was younger, I probably would never have bought that line of reasoning and not terribly enjoyed this story. As I've aged to a venerable 40 years and some of my Platonic idealism has tarnished, I have learned to accept that "the masses" don't get as outraged as individuals do. Most of the time, groups of people are scared when it comes to dramatic change and accept it if fed the line that it is temporary and for the good of all. Most of the time, these changes are never about being for the good of all, they are simply about control.
A past example to show even women are not above this: The Temperance movement to abolish alcohol. Propelled by religious minded women, fresh with their new ability to vote. Despite Jesus being pro-wine they felt it their duty to rid the world of drink. You can argue the details all you want, but at the end of the day, it was about asserting power and control.
A modern example: For the past 12 years, the U. S. citizens have been force fed the line that we are all living under a faceless threat of "Terror" and in this time we have fought two wars, one of which we are still fighting, and most of us don't really know why, other than we are "fighting terror". These wars are not as openly covered as the Vietnam War, because our government has learned that atrocities that are not visited daily are quickly forgotten because people prefer to stick their head in the sand. And so people forget. They don't get outraged. They simply accept the situation because it is supposedly temporary, for the good of us all, for all our safety, blah, blah, blah. What are we looking to control? Some say oil, others say that the area is strategically located real estate. Regardless, it is about control.
So do I think a "fast coup" could take over and make such radical changes? No. But a slow insidious change over the course of a decade or two? Well, I have seen it with my own eyes, so yes, the scenario in The Handmaid's Tale is plausible to me, but I know that such a shift would happen over years, not months. Anyone who thinks otherwise is sticking their fingers in their ears, closing their eyes, and repeating the above blah, blah, blahs.
A possible future example that's been a long time in the making: During the 80's (my youth) religious fundamentalists (in this country) blew up abortion clinics because they were outraged and wanted change. Presumably, they wanted things to return to the way they were when abortions were illegal, in back allies with coat hangers. Just in my lifetime, they have since learned that getting people upset only motivates them to stand with or against you. And if you're the one blowing up teenagers, it's tough to motivate people to stand with you. They have taken their fight political, a realm where everybody's eyes glaze over and become dispassionate, and they have slowly set about making laws against birth control and abortion clinics. As someone who is pro-choice, I can't say all of these laws are bad. Many are simply requiring clinics to uphold standard medical cleanliness practices. The laws that really hurt, are the laws that reduce or eliminate funding preventing the clinics from having the money to be able to upgrade their facilities and are forced to shut down. You can tell this is about the control of others and not about any religious objection because the number one cited religious reason is the belief that life begins at conception. Rather than supporting research for birth control that simply prevents conception, they politically attack all avenues of abortion and birth control. So even if you address their concerns, it does not change the way they behave.
Leaving the examples and subtext behind, back to the story at hand. The Handmaid's Tale is true literature, thus by practical definition, this makes the story a little slow and boring at points. When I was in college, I had to take plenty of slow and boring classes that I thought were of minimal value. However, I quickly learned that it is possible to garner lessons from and learn something from every class and that is what I set out to do. I took it upon myself to walk away with something for my time and money. This book requires that same model of thought. Even after 28 years, there is a wealth of intriguing thought experiments that went into the writing of this story and a similar trove for those willing to consider the next step of reasoning, but you have to be willing to dig for that gold.
And there you have it. The subtext of The Handmaid's tale is a marvellously thought provoking book about the subtleties that go into how societies change, but if you're not interested in thinking, move on to something formulated for entertainment purposes this is not the novel for you.
After watching the excellent Hulu series based on Margaret Atwood's book, I had to read the original source material. The series (and concept) is so fascinating (and scary) that I wanted (needed) to see how it compared. Most of all, in the era of "President" Trump, it's a bit too realistic of an idea that's not too hard to imagine actually happening under his Republican regime. This is one case where I thought the movie/show was better than the book. The TV series follows the original book very closely, but goes into so much greater detail, giving us more insight into the characters and society. Of course, Atwood had just 300 pages to fill, whereas the TV series had 10 hour-long episodes. I won't spoil anything, but I will note that the book does end similarly to the season finale of the first season of the TV series.
This is my first book of Atwood's, and I can already tell that I want to read more of her many, many novels in the future. She's got some pretty interesting and frightening ideas about alternate futures and realities. Her writing itself is very easy to read, even though there were times in this particular novel where I felt she was rambling and could have given us more information and insight into Offred or society rather than rambling about things we already read before. She also goes back and forth between using quotation marks around spoken words, which is distracting. In some cases, she used them and in others, she didn't. This is a pet peeve of mine; I prefer (and learned in my creative writing and English classes) that all spoken words should be in quotation marks, not just for proper grammar, but because it makes for an easier read, defining exactly what is dialogue and what is descriptive text.
"The Handmaid's Tale" is definitely worth a read, but I also highly recommend watching the TV series as well.
Top reviews from other countries
OK, the each their own, but even the most rudimentary of content descriptions makes clear that this is a dystopian novel that is – from Amazon’s own opening blurb – “a stunning Orwellian vision of the near future (where) Handmaids . . . have only one purpose: to breed.”
It goes on to describe the story as “Provocative, startling, prophetic . . . at once a mordant satire and a dire warning.”
So, no, this will not be everyone’s cup of tea. Some may find deeply disturbing the things Atwood conceptualizes; may choose to see such things as simply impossible, or may choose to simply dismiss the story and or author for what they perceive are the failings of either. All of these, I find, to be quite acceptable, but the “I didn’t know what I was buying” or “It wasn’t what I expected,” excuses truly fall flat. (Save them though, since they might be usable if you ever buy a can of paint without a label or, in doing so, find the colour to be Shocking Pink when you “expected” it to be Moss Green).
The Handmaid’s Tale is brilliantly written and will, in my view, be a novel read (and reread) for a very long time.