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In depth analysis and examination of The Handmaid's Tale from chapter 1 -46, including in depth summary and short summary and important themes for IEB 2024
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The Handmaids Tale - Margaret Atwood"The Handmaid's Tale" is a dystopian novel written by Margaret Atwood, first published in
1985. The story is set in the near-future, in a theocratic and totalitarian society known
as the Republic of Gilead, which has replaced the United States. The novel is a
commentary on gender politics, religious extremism, and the consequences of
authoritarianism.
The story is narrated by a woman named Offred, who is one of the Handmaids in Gilead.
In this society, fertility has become a rare and highly valued commodity due to
widespread infertility. The Handmaids are women who are forcibly assigned to bear
children for the ruling class. They are stripped of their rights and identities, forced to
wear red dresses and white bonnets, and subjected to a strict, oppressive regime.
Offred reflects on her life before the rise of Gilead, when she had a husband and a
daughter, and her gradual descent into her current life as a Handmaid. She lives under
constant surveillance and fear, as the regime punishes disobedience with brutal
consequences, including execution.
The novel explores themes of power, control, and the subjugation of women's rights. It
also delves into the role of religion in justifying and maintaining authoritarian regimes.
Offred's narrative is a harrowing account of her struggle to survive in a world where
she has been reduced to her reproductive function and denied basic human rights.
"The Handmaid's Tale" is a powerful and thought-provoking work that has become a
classic in feminist literature. It has been adapted into various forms, including a popular
television series, which further explores the themes and characters of the novel. The
story is a chilling reminder of the potential consequences of extreme ideologies and the
importance of defending individual liberties and human rights.
Character list:
a. Offred (June)
b. The Commander
c. Serena Joy
d. Moira
e. Ofglen
f. Aunt Lydia
g. Nick
h. Luke
i. Janine
,Offred (June): The novel's protagonist and narrator, Offred is a complex character who was
once a free woman with a loving husband and daughter. She is reduced to the role of a
Handmaid in Gilead, forced to bear children for the ruling class. Her internal monologue and
memories provide insight into the world before Gilead's rise and the struggles she faces in
this new society.
Moira: Moira is Offred's best friend from before Gilead's rise. She is a strong-willed and
rebellious character who refuses to conform to the role of a Handmaid. Her determination
to escape Gilead and her acts of defiance are sources of inspiration for Offred.
The Commander: The Commander is a high-ranking official in Gilead and is assigned Offred
as a Handmaid. He is a powerful figure in Gilead's hierarchy but also plays a role in the
subversion of the regime through his secret interactions with Offred.
Serena Joy: Serena Joy is the Commander's wife, a former religious activist and author. She
is discontented with her role in Gilead and longs for the past when she had a more public
platform for her conservative beliefs. Her complex relationship with Offred is marked by
jealousy and mistrust.
Ofglen: Ofglen is a fellow Handmaid whom Offred interacts with. There are two different
Ofglens in the novel, and their real names are never revealed. They both display varying
levels of resistance against the regime, and their relationships with Offred evolve over
time.
Aunt Lydia: Aunt Lydia is a high-ranking woman in Gilead responsible for training and
overseeing the Handmaids. She is a zealous supporter of the regime, and her character is a
symbol of the collaboration of some women in maintaining the oppressive system.
Luke: Luke is Offred's husband from her life before Gilead. He is separated from Offred
when the regime takes over, and she constantly wonders about his fate, making him a
central figure in her memories and hopes.
Nick: Nick is the Commander's driver, and his character is enigmatic. He plays a significant
role in Offred's life as they develop a forbidden romantic relationship, but his true
motivations and allegiances are often unclear.
Alma: Alma is a Handmaid and a friend of Offred and Moira. She is involved in various black-
market activities, helping to provide the Handmaids with contraband and information.
Janine (Ofwarren): Janine is a fellow Handmaid who becomes pregnant, which causes
tensions and complicated dynamics among the Handmaids. She also struggles with the
trauma of her past life and her role in Gilead.
Janine (Ofdaniel): Another Handmaid named Janine, who goes through a traumatic
experience, leading to emotional instability. Her character illustrates the impact of Gilead's
brutal treatment on its subjects.
, Chapter 1
The story kicks off with Offred, the narrator, describing the gym where she now sleeps. The
place carries a heavy feeling of nostalgia and loss, like echoes of past high school dances.
Offred, along with other women, rests on military cots while Aunts Sara and Elizabeth watch over
with cattle prods. This highlights how memories and old emotions persist in the new strict world.
Offred doesn't immediately explain everything, leaving questions. The society is structured with
hierarchy and strict gender roles. The guards, known as the Angels, have guns but can't enter.
Offred, despite restrictions, wishes to negotiate with them using her body. The women,
forbidden to speak, find subtle ways to connect, sharing names and memories in quiet rebellion.
Chapter 2
Offred describes her new bedroom, which has a traditional and safe design, with the notable
feature of a covered hole in the ceiling that used to hold a chandelier, resembling an empty eye
socket. She recalls Aunt Lydia's advice to view her life as if in the army. Flowers are allowed, but
the iris print lacks glass to prevent self-harm. Despite restrictions, Offred appreciates sunlight
and being alive. Her room, like the gym, blends tradition with a rebel-proof design. Offred, clad in a
red uniform, moves through the house, facing limitations. The scene reveals discord among
women, hindering unity against Gilead. Despite longing for social connection, Offred hesitates to
change her situation.
Chapter 3
Offred strolls through the garden en route to the shops, observing blooming red tulips that seem
like healing wounds. The Commander's Wife, Serena Joy, tends to the garden with the help of
Guardian Nick. Despite arthritis in her foot, Serena Joy engages in sewing and knitting, creating
intricate scarves for Angels at war. Offred imagines the scarves may go unused, unraveling into
yarn again. Serena Joy's focus on gardening and crafting represents traditional feminine
activities linked to fertility, contrasting with Gilead's sterile environment. In a flashback, Offred
recalls her arrival, where Serena Joy, donned in blue Commander's Wife robes, set boundaries,
disappointing Offred's desire for familial connection. Despite Serena Joy's rebellious act of
smoking, Offred discovers her earlier identity as a religious singer on a TV program.
Chapter 4
After the flashback, Offred continues her shopping trip, likening the garden path to a hair part
and connecting worms to fertility. Nick, the Guardian assigned to the Commander, polishes the
fancy car with a touch of irreverence, revealing his low rank. Offred, attuned to signs of
rebellion and fertility, notices rule-breaking. Nick's wink unnerves her in the atmosphere of
paranoia Gilead has created. Meeting Ofglen, they exchange greetings but operate with suspicion,
as Offred imagines her as a faithful Handmaid. Walking together, Ofglen shares news of
captured rebel Baptists, highlighting Gilead's rigid control. Despite casual rule-breaking, Offred's
paranoia seems justified. The Guardians salute the Handmaids, and Offred fantasizes about
tempting them with her body, seeking a sense of power. Despite her rebellious thoughts, Offred
lacks empathy and aims to inflict pain, not join a collective rebellion.
Chapter 5
Offred and Ofglen proceed on their shopping walk, passing well-maintained but childless
neighborhoods in the heart of Gilead, once occupied by professors from the now-closed Harvard
University. Offred reminisces about walking there with Luke, dreaming of having children and a
spacious home. Reflecting on the past, she notes the contrast between the romanticized former
life and the present reality. Memories arise of the time before women were protected, recalling
constant precautions with men and the freedom to choose clothes. Aunt Lydia defined the
current situation as "Freedom from" rather than "Freedom to," acknowledging certain
improvements in Gilead. The women visit clothing store Lilies of the Field and grocery store Milk
and Honey, both devoid of signs due to women's reading prohibition. The pregnant Handmaid,
Janine, elicits excitement and jealousy. The Biblical store names highlight Gilead's focus on
suppressing women and grounding laws in the Bible. At the meat store All Flesh, Offred recalls a
time when plastic bags were abundant, guided by Luke's concern for their daughter's safety.
Japanese tourists wearing Western attire evoke both interest and disgust, prompting Offred to
,realize how Gilead has shaped her views, leading to a moment of self-awareness about her
changed opinions and dress preferences.
Chapter 6
As Offred and Ofglen come back from shopping, Ofglen asks to go by the church, not for
religious reasons. Walking with restricted sight due to her face wings, Offred recalls the past
uses of the area, once part of Harvard University. The football stadium is now used for brutal
events. They visit a small church and graveyard, where Ofglen appears to pray, but Offred is
skeptical. They go to the red-brick Wall, once the border of Harvard, now barricaded with dead
men hanging, faces covered like scarecrows. The men, executed for providing abortions, wear
white coats with signs around their necks. Offred feels indifferent but is relieved they aren't
Luke. She notes her callousness and reflects on superficial similarities, like red, confusing
memories with reality. Ofglen appears to cry, and Offred wonders if it's genuine or a show. She
recalls Aunt Lydia saying Gilead will become ordinary, raising her ongoing concern of distinguishing
true believers from cautious fakers.
Chapter 7
Lying in bed, Offred contemplates the difference between "lie" and "lay," noting sexual
connotations. She selects a memory to explore privately at night, considering the active-passive
distinction relevant to her gender and memories. Recalling pre-Gilead times with Moira, a radical
feminist, Offred reflects on her passive approach to feminist concerns. Another memory
involves burning books, raising suspicions about radical feminists. Unable to control subsequent
memories, Offred recalls searching for her taken daughter, highlighting Gilead's suppression of
her chosen recollections. Yearning for narrative control, Offred recognizes storytelling's
comfort, hope, and limited freedom amid Gilead's oppression.
Chapter 8
The weather brings memories of old days to Offred, reminiscent of dresses and ice cream. At
the Wall, three new bodies, including a priest, hang for Gender Treachery (homosexual activity),
revealing Gilead's strict gender norms. Offred suggests leaving, resenting Ofglen's ambiguous
attitude. Ofglen comments on the beautiful May day, prompting Offred's memory of "Mayday"
from Luke. They witness an Econowife funeral, creating sympathy but receiving a rude gesture.
Ofglen hints at more but remains silent. Back home, Nick polishes the Commander's car, and
Offred dismisses the red tulips' striving. Serena Joy's history reveals Gilead's rigid gender roles,
causing Offred's rebellious thoughts. Passing Serena Joy, Offred recalls Aunt Lydia's divisive
teachings, illustrating Gilead's manipulation of memories and fostering hatred among women.
Chapter 9
While waiting in her room, Offred reflects on the previous Handmaid's presence. Recalling her
initial exploration of the room, Offred diverts into a memory of secret meetings with Luke in
hotel rooms, missing the carefree independence of those times. She acknowledges a newfound
appreciation for past happiness. Returning to her main memory, Offred examines every detail,
noting mattress stains and recalling moments with Luke. The discovery of hooks for potential
self-harm brings her to fainting thoughts. Finding the Latin phrase "Nolite te bastardes
carborundorum," Offred, unaware of its meaning, imagines the rebellious previous Handmaid with
freckles, merging her with memories of Moira. Despite Rita's refusal to elaborate, Offred's
active imagination defies Gilead's restrictions on reading and creates connections with imaginary
friends.
Chapter 10
Offred occasionally sings "Amazing Grace," a now-banned song for its use of the word "free,"
and a lonely song from her mother's cassettes. The house's only other music is Rita's occasional
humming or Serena Joy illicitly listening to recordings of her younger self singing religious songs.
"Amazing Grace" ties Gilead to the Confederacy, emphasizing the Bible's dual interpretations for
freedom and slavery. As the heat prompts Offred to wear summer dresses, she recalls Aunt
Lydia disapprovingly comparing scantily-clad women to cooking meat, showcasing Gilead's
,improvements in some areas. A memory of Moira planning an "underwhore" party raises
questions about feminist actions amid Gilead's cultural shifts. Sitting by the window with a
cushion labeled "faith," Offred contemplates her ambiguous feelings towards the Commander,
engaging in passive rebellion through the forbidden cushion. Memories of Moira's past actions add
complexity to Offred's perceptions of feminism.
Chapter 11
Offred recounts her recent monthly checkup, where a Guardian with a red armband drives her to
the appointment. The examination room features a red screen with an eye painted on it. As she
undresses for the doctor, the scene underscores her passive, interchangeable status, comparing
her body to a fruit. The doctor, using flirtatious terms, examines her and discusses the taboo
topic of male sterility, suggesting an alternative method for reproduction. While Offred briefly
hopes for information about Luke, the doctor's inappropriate advances create fear. Despite the
risky proposition, Offred is torn between potential danger and the desire for change, revealing
the complex internal conflicts in Gilead.
Chapter 12
Offred takes a bath in a room devoid of any items that could pose a suicide risk. The memory of
Aunt Lydia emphasizing vulnerability during baths and justifying it with Biblical references lingers.
Despite the constraints, Offred feels a sense of freedom when she takes off her habit and
wings. However, her reluctance to look at herself suggests internalized Gileadean attitudes. In a
spontaneous flashback, Offred remembers a stranger attempting to steal her baby at a
supermarket. The memory highlights a difference in opinion between Offred and Luke. Offred
mourns the loss of her daughter, whose memory is clouded by Gileadean values. Cora interrupts,
signaling the limited time for her bath, and Offred prepares for dinner, cautiously saving a piece
of butter—a subtle act of rebellion.
Chapter 13
Offred reflects on her surplus of time, yearning for a hobby. Empathizing with historical
depictions of confined women, she likens herself to a caged creature waiting for a purpose.
Engaging in pelvic exercises, she recalls the unsettling naptime at the Rachel and Leah Center,
speculating on potential drug-induced compliance. Memories of Janine's Testifying expose the
breakdown of female solidarity under Gilead's oppression. Offred's strategic bathroom request
highlights the irrational punishment for natural bodily functions. In the present, she contemplates
her body and failures while flashbacks reveal a past rebellion attempt, mirroring her present
struggles in Gilead.
Chapter 14
Offred goes downstairs, passing the eye-like mirror, and kneels in the sitting room adorned with
Serena Joy's mixed-style decor. Serena Joy's perfume, Lily of the Valley, nauseates Offred, who
wishes she could assert power by stealing something. Cora, Rita, and Nick join, and when Nick
touches Offred's foot, she's uncertain of his intentions. Serena Joy, adorned in a flower-trimmed
dress, triggers Offred's mental rebellion against her. The late Commander prompts Serena Joy to
turn on the TV news, revealing ongoing battles and the transport of "Children of Ham" to a camp
in North Dakota. Offred retreats into a memory, contemplating an escape plan with Luke and her
daughter.
Chapter 15
The gray-haired Commander arrives, dressed in a black suit, unlocking the Bible from its box to
read. Offred contemplates his power and struggles to discern his perspective. In a mental
rebellion, she envisions his sexuality as repulsive, picturing his penis as a slug eye. The Commander
reads biblical passages on fertility, and Offred has a flashback to the Rachel and Leah Center,
recalling an edited tape of the Beatitudes. She reflects on Moira's escape plan and seduction
attempt. In the present, as Offred prays "Nolite te bastardes carborundorum," she recalls
Moira's tortured punishment for escape at the Rachel and Leah Center. The Commander dismisses
the household after reading.
Chapter 16
, In this pivotal scene, Offred lies on Serena Joy's canopy bed, clad only in underpants. The bed's
draperies resemble ship's sails, evoking a sense of anticipation. Positioned between Serena Joy's
clothed legs, Offred and Serena Joy hold hands as the Commander engages in sex with Offred's
lower body. The act is impersonal and devoid of arousal, love, or kissing. Offred refrains from
labeling it as rape, as she chose to be a Handmaid. Her emotional detachment, choosing
seriousness over imagination, contrasts with her memories of a previous Commander who
smelled worse. Following the act, the Commander departs swiftly, while Serena Joy, harboring
resentment, compels Offred to leave immediately despite the recommended post-coital rest,
underscoring the prevailing woman-on-woman animosity over their shared desire for a child.
Chapter 17
Returning to her room, Offred discovers a pat of butter melted in her shoe, a clandestine beauty
remedy in a world devoid of makeup. At the Red Center, she learned this unconventional trick.
When she rebels, it's for personal comfort, defying the Center's lack of meaningful strategies.
In bed, she imagines her ceiling's eye, misses Luke intensely, and decides to steal. Luke's love
empowers her, prompting a decisive act. Quietly descending, she plans to purloin a daffodil,
breaking the rules. Hearing Nick's footsteps, they share a forbidden touch, blurring boundaries.
Nick discloses the Commander's summons, and Offred, spurred by thoughts of Luke, surrenders
to desire, melding separate entities.
Chapter 18
Lying in bed, Offred grapples with the emotional turbulence triggered by her encounter with Nick.
Haunted by memories of her time with Luke during pregnancy, she finds herself both disturbed
and aroused, yet too emotionally numb to engage in self-pleasure. Choosing the solace of
reminiscence over active pursuits, Offred envisions diverse fates for Luke. From the grim image
of a forest corpse to an aged prisoner with a crimson gash, and finally, a hopeful escape to join
the Resistance. She clings to all possibilities simultaneously, unwilling to abandon hope entirely,
showcasing a blend of optimism and deliberate blindness. Despite acknowledging the potential of
Luke's allegiance to Gilead, Offred opts to idealize him, preserving their love as a means of
escapism.
Chapter 19
Offred wakes up confused and wonders if she's been drugged after dreaming about her
daughter and mom. Enjoying breakfast, she notices her eggcup looks like a skirt, finding it amusing.
A red Birthmobile arrives, taking Handmaids, including Offred, to Ofwarren's birth event. Birth
Days allow Handmaids more freedom. Offred thinks about Gilead's fertility issues, blaming
women for trying to control pregnancies. Flashbacks show Aunt Lydia criticizing those who
sterilized themselves, connecting it to fears of the world ending. Offred dislikes Janine, thinking
she's weak, reflecting societal judgment. In a simple narrative, Offred's mixed feelings reveal
struggles in a controlled society.
Chapter 20
At a fancy event, Offred sees a lavish buffet prepared for the Wives, complete with wine and
oranges. The Wife of Warren appears as if she's also about to give birth. Janine, struggling on the
bed, gains Offred's sympathy. Aunt Elizabeth helps, and Handmaids sit on the floor. Offred recalls
Aunt Lydia's claim that future generations would find their role easier, though the clear
inequality challenges this idea. In a flashback, Offred remembers movie time at the Rachel and
Leah Center, where Aunt Lydia showed disturbing films, including silenced feminists. A film
featuring Offred's mother at a rally highlights their generational differences. Despite their past
disagreements, Offred wishes for things to go back to the way they were. In the present, she
desires normalcy, recognizing her differing views from her mother and friend Moira's fervent
feminism.
Chapter 21
In Janine's birthing room, it smells strange and the Handmaids are helping her through labor.
Offred, feeling some freedom, asks about her friend Moira. Janine, who already had one baby,
goes through the birth process with some difficulties. The ceremony tries to make things look
nice, but it's clear who is really doing the hard work. When the baby, a girl named Angela, is born
healthy, the Handmaids feel happy together. But the joy doesn't last, as Janine won't get to keep
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