Abstract
These words spoken by Atwood’s Handmaid, deprived of her own name and citizenship and known simply by the patronymic ‘Offred’, might be taken as emblematic of a woman’s survival narrative told within the confines of a patriarchal system represented by the distopia known as Gilead. Restricted to private domestic spaces and relegated to the margins of a political structure which denies her existence as an individual, nevertheless Offred asserts her right to tell her story. By doing so, she reclaims her own private spaces of memory and desire and manages to rehabilitate the traditionally ‘feminine’ space assigned to women in Gilead. Atwood’s narrative focuses on possibilities for constructing a form of discourse in which to accommodate women’s representations of their own gendered identity while still acknowledging ‘the power of the (male ‘universal’) space in which they cannot avoid, to some extent, operating’.2 Like Bodily Harm, this is another eye-witness account by another ‘ignorant, peripherally involved woman’, this time interpolated within the grand patriarchal narratives of the Bible and of history, just as Offred’s Tale is enclosed within an elaborate structure of prefatory materials and concluding Historical Notes. However, her treasonable act of speaking out in a society where women are forbidden to read or write or to speak freely effects a significant shift from ‘history’ to ‘herstory’.
My room, then. There has to be some space, finally, that I claim as mine, even in this time.
The Handmaid’s Tale, p. 601
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Chapter 7 Science Fiction in the Feminine: The Handmaid’s Tale
Margaret Atwood, The Handmaid’s Tale (London: Virago, 1987 ). All further page references will be included in the text.
Linda Hutcheon, The Canadian Postmodern ( London: Oxford University Press, 1988 ) p. 110.
Howard Phillips (ed.), The New Right at Harvard ( Virginia: Conservative Caucus Inc. National Headquarters, 1983 ).
Margaret Atwood, ‘Witches’, reprinted in Second Words: Selected Critical Prose ( Toronto: Anansi, 1982 ) pp. 329–33.
I am indebted for this information to Mark Evans, ‘Versions of History: The Handmaid’s Tale and its Dedicatees’, in Colin Nicholson (ed.), Margaret Atwood: Writing and Subjectivity ( London: Macmillan; New York: St Martin’s Press, 1994 ) pp. 177–88.
Constance Rooke, ‘Interpreting The Handmaid’s Tale: Offred’s Name and “The Arnolfini Marriage” ’, in Fear of the Open Heart ( Toronto: Coach House, 1989 ) pp. 175–96.
Jonathan Bignell, ‘Lost Messages: “The Handmaid’s Tale”, Novel and Film’, BJCS, vol. 8, no. 1 (1993) pp. 71–84.
Heather Murray, ‘Women in the Wilderness’, in S. Newman and S. Kamboureli (eds), A Mazing Space: Writing Canadian Women Writing (Edmonton: Longspoon/Newest, 1986) pp. 74–83. In this useful essay, influenced by the American feminist critic Elaine Showalter’s ‘Feminist Criticism in the Wilderness’, Murray comments on women’s mediating function between nature and culture as well as on the characteristic features of women’s wilderness discourse.
Hélène Cixous, ‘The Laugh of the Medusa’ (1976), trans. Keith and Paula Cohen, repr. in New French Feminisms: An Anthology ed. E. Marks and I. de Courtivron (Brighton: Harvester, 1981) pp. 245–54. All further page references to Cixous’s essay will be taken from this edition and included in the text.
Margaret Atwood, ‘Nothing’, from True Stories, Poems 1976–1986 ( London: Virago, 1992 ) p. 63.
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© 1996 Coral Ann Howells
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Howells, C.A. (1996). Science Fiction in the Feminine: The Handmaid’s Tale. In: Margaret Atwood. Modern Novelists. Palgrave, London. https://doi.org/10.1007/978-1-349-24265-8_7
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